Introduction
About Japan Cultural Expo
Timed to coincide with the opening of Olympic and Paralympic Games Tokyo 2020, the Japan Cultural Expo isa nationwide festival presenting a year-round program leveraging the tourism and cultural resources that are thepride of various regions of Japan. Led by the Agency for Cultural Affairs and the Japan Arts Council, the Expois organized in cooperation with government ministries and agencies, cultural institutions, local governments, andprivate organizations.
Through exhibitions, performing arts productions, and arts festivals showcasing the arts of Japan, the Japan
Cultural Expo encompasses a year-round program that explores culture throughout the four seasons under theoverarching theme, “Humanity and Nature in Japan: Exploring the Arts from Antiquity to the Present.”
While FY 2021 is scheduled to be the Expo’s signature year, 2020 also saw selected events held with preventive
measures against COVID-19, supplemented by the production and distribution of multilingual video content.
Efforts are also being made to contribute to the recovery of inbound tourism by stimulating demand for postpandemic travel.
*Note: The term “Fiscal Year” (FY) used in this report refers to the Japanese fiscal year from April to March.

Overarching theme

Humanity and Nature in Japan
Concept
For over 10,000 years, the arts of Japan have expressed a reverence for nature. Historically, all living beings were
thought to be endowed with a spirit, and early humans deeply respected the diversity of life found in nature. People
in Japan developed an aesthetic sense that embodied the closeness they felt with nature, and expressed that sense
through a number of mediums and forms, including: prehistoric pottery; Buddhist and other sculptures; paintings
on woodblock prints and folding screens; lacquerware and other decorative arts; kimonos and other textiles; Noh,
Kabuki, and other traditional performing arts; literature; the modern manga and anime; and even in daily essentials,
such as food, clothing, and shelter.

CONTENTS

Introduction ..................................................... 1

Under the overarching theme of “Humanity and Nature in Japan”, the Japan Cultural Expo will present theaesthetic sense of Japan, which continues from the Jomon period to today, across the following fields: Art andCultural Treasures; Performing Arts; Media Arts; Lifestyle Arts, Literary Arts, and Music; Food Culture and Nature;
Design and Fashion; Inclusive Society and Coexistence of Cultures; Disaster Recovery. Through showcasing theJapanese aesthetics to within and outside the country, as well as to the next generation, the Japan Cultural Expoaims to pave the way for future. We hope that this festival of culture and the arts will encourage everyone tointeract and inspire each other, and lead to respect for diversity, sharing the universalities, and to pray for peace.

Summary ........................................................... 6

Japan Cultural Expo logo

Impacts and Achievements .........................16
Promotion .......................................................31[Message represented by the logo]
The sun rises through the clouds over the ocean. It expresses reverence for nature, thespirit of human connection, and hope for recovery from the disaster.

Verification Report on Holding Japan Cultural Expo Summary 2020

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Background
The Japan Cultural Expo concept grew from discussions held by the “Beauty of Japan” Comprehensive Project Advisory
Council by the Government, as a project to promote and develop Japanese art and values within and outside thecountry, along with the building of international goodwill. At the 6th informal meeting (held on June 22, 2018),
the Prime Minister instructed the Ministry of Education, Culture, Sports, Science and Technology, and the Agency
for Cultural Affairs, to hold the “Japan Cultural Expo (tentative title)” nationwide, timed to coincide with Olympic
and Paralympic Games Tokyo 2020. In December 2018, chaired by the Prime Minister, the Japan Exposition
Comprehensive Promotion Council shared the theme and concept, as well as the possibilities for holding the
project, and its implementation system. The council then defined the exposition as a collaborative, interagency
project to be implemented with the cooperation of ministries, cultural facilities, local government authorities, andprivate-sector partners. A key objective is to attract international visitors to destinations beyond the main urban
centers, through nationwide initiatives leveraging the cultural resources including those of disaster-affected areas.
“Beauty of Japan” Comprehensive Project Advisory Council:
Organized by then-Prime Minister Abe (until September 2020) /chaired by Tsugawa Masahiko (until August 2018) and Kobayashi Tadashi (from April 2019)

Schedule
2015:“Beauty of Japan” Comprehensive Project Advisory Council launched

2016:

Masterpieces of Japanese Buddhist Sculpture held in Italy

2018:

Japonismes 2018 held in France

2019:

Japan Cultural Expo launched gradually in Japan (including trial projects)
Japan 2019 held in the US / Asia in Resonance 2019 held in Southeast Asia

2020:

Japan Cultural Expo held in Japan(Event held following COVID-19 precautions, including projects that were held on
smaller scales or were canceled being featured on video contents where possible.)

2021:

Signature year of the Japan Cultural Expo, with video content promoted online globally

Launch Ceremony
The launch ceremony of the Japan Cultural Expo was held at the main hall of the National Theatre of Japan on
March 3, 2019. Around 700 guests were invited, with Eitetsu Hayashi and Eitetsu Fu-un no Kai giving a taiko
drum performance, as well as the Commissioner for Cultural Affairs, Ryohei Miyata, and kabuki actors Nakamura
Senjaku and Onoe Kikunosuke holding a panel discussion. Shibayama Masahiko, then-Minister of Education,
Culture, Sports, Science and Technology, and Miyata announced the launch of the Japan Cultural Expo.

Framework for the Japan Cultural Expo

Overarching themes
Jomon Period to Today

Humanity and Nature in Japan

Main fields
Art and Cultural Assets

Performing ArtsMedia Arts

Lifestyle Arts, Literary Arts,
and Music

Food Culture and Nature

Design and Fashion

Inclusive Society andCoexistence of Cultures

Disaster Recovery

Project overview and objectives• To present exhibitions, performing arts productions, and art festivals showcasing the arts of Japan across thecountry to coincide with Olympic and Paralympic Games Tokyo 2020.
• To promote Japan’s various cultures year-round and throughout the four seasons, under the theme of “Humanity
and Nature in Japan: Exploring the Arts from Antiquity to the Present”.
• To promote increased demand for domestic travel within Japan, and generate interest in visiting Japan among
those who enjoy Japanese culture, by showcasing appealing content, while maintaining COVID-19 precautions
and taking into account the new style of living.
• A collaborative project centered around the Agency for Cultural Affairs, implemented with the cooperation ofministries, cultural facilities, local government authorities, and private-sector partners.

● To recover and expand inbound tourism ahead of, during, and after Olympic and Paralympic GamesTokyo 2020 in 2021
● To expand the demand for domestic travel and to promote visits to regional areas● To articulate national branding through culture and the arts
● To build stronger foundation as “culture and the arts hub” and leveraging economic growth2

Verification Report on Holding Japan Cultural Expo Summary 2020

Verification Report on Holding Japan Cultural Expo Summary 20203

Project framework

Organizational structure
Japan Exposition Comprehensive Promotion Council
Chairman: Prime Minister / Deputy Chairman: Chief Cabinet Secretary
Assistant Chair: Deputy Chief Cabinet Secretary
Members: Minister for the Tokyo Olympic and Paralympic Games; Minister of State for Cool Japan Strategy;
Minister of Foreign Affairs; Minister of Education, Culture, Sports, Science and Technology;
Minister of Land, Infrastructure, Transport and Tourism;
Kobayashi Tatsuo; Komatsu Taishu; Shimatani Hiroyuki; Takashina Shuji

Framework of the Japan Cultural Expo

Liaison Committee among Ministries and Agencies on
the preparation for the Japan Cultural Expo
Chairman: Deputy Chief Cabinet Secretary
Deputy Chairman: Assistant Chief Cabinet Secretary / Deputy Chairman: Assistant Chief Cabinet Secretary
Assistant Chair (in charge of overall affairs): Commissioner for Cultural Affairs
Assistant Chair (in charge of liaison with the Tokyo 2020 Olympic and Paralympic Games):
Secretary-general for the Taskforce for the Promotion of the Tokyo Olympic and Paralympic Games
Liaise across ministries& agencies

Agency for Cultural Affairs

Secretariat for
the Taskforce for
the Promotionof the Tokyo
Secretariat of
Olympic andIntellectual
Paralympic
Property Strategy
Games,
the Cabinet
Secretariat

Ministry ofForeign Affairs

National
Tax Agency

Office for
the Promotionof Overcoming
Population
Decline andVitalizing Local
Economyin Japan

Ministry of
Education,
Culture,Sports,Science andTechnology

Comprehensive
Ainu Policy
OfficeJapan Cultural Expo Planning Committee,
Agency for Cultural Affairs

Advisory to planning& implementation

General supervision

The project involves the following frameworks: Japan Cultural Expo Presented and Co-presented Projects by Japan andJapan Arts Council partnering with local government authorities, arts organizations, and enterprises; and GrantSupported Projects and Participatory Format, which are mainly organized by the local government authorities, arts
organizations, and enterprises.
The Japan Cultural Expo is a program designed to promote Japan’s arts and cultures within and outside thecountry, and to promote inbound tourism. The project also aims to reappraise Japanese tradition, arts, food, andnatural environment among the people in Japan, and for Japanese people themselves to promote these arts andcultures both within and outside the country.
Japan Cultural Expo Presented and Co-presented Projects

Ministry of
Health,Labour andWelfareExperts, leaders of the local government authorities
and industry, and Secretary-Generalof the Japan Cultural Expo Secretariat

The Japan Cultural Expo is a nationwide celebration of Japanese arts and culture, featuring exhibitions,performances, and arts festivals, under the overarching theme of “Humanity and Nature in Japan”. The projectwill showcase Japan’s coexistence with nature throughout the Jomon period to today, and how people portrayednature in art and culture across the country over the generations. The Japan Cultural Expo provides an opportunity
for everyone to deepen their understanding and enjoy the culture of Japan. It is designed to appeal to a broad
domestic and international audience through diverse contents, including exhibitions, performing arts productions,arts festivals, and interactive programs.

Imperial
HouseholdAgencyMinistry ofAgriculture,
Forestry and
Fisheries

Ministry of
Economy,Trade andIndustry

National
PoliceAgencyJapan
Tourism
AgencyMinistry ofInternal Affairs
andCommunications

Ministry of theEnvironment

Cross-Category Initiatives

These are large-scale cross-category initiatives which form the core of the Japan Cultural
Expo. Projects are planned and held jointly by the Japanese government, Japan Arts
Council, cultural facilities, as well as private organizations and companies.

Category-Specific Initiatives

Exhibitions and performing arts productions incorporating the overarching themes
and core concepts of the Japan Cultural Expo, that are planned and implemented byorganizations that run activities on a national scale.

Grant-Supported Projects
Innovation-oriented Projects

Novel and innovative cultural and artistic projects held as part of the Japan Cultural Expothat seek to leverage culture to strengthen national branding, grow inbound tourism, andcontribute to building the foundations for Japan’s position as a country of culture andthe arts (creating more opportunities to discover and reaffirm the wonders of Japaneseculture).

Cultural Resource Projects

Capitalizing on the opportunity provided by the Japan Cultural Expo, teams of local
residents and arts, industry, academia, and government bodies come together to run
cultural and artistic projects that leverage local resources with an eye to expanding
inbound tourism.

International Cultural Festival
Promotion Projects(Long-term Exhibitions)

Novel and innovative projects held as part of the Japan Cultural Expo that leverage thecultural assets of regional areas to attract visitors from abroad. These fixed-term culturaland artistic projects, such as art festivals, seek to boost inbound tourism by promotinginternational cultural exchange and growing and expanding as cultural and artistic
projects with high international recognition.

Local Cultural Heritage
Exhibition Support Projects

These initiatives borrow regional cultural assets owned by the national government andother bodies and create easy-to-understand exhibition guides and experiential content toeffectively and attractively exhibit and communicate the history, culture, atmosphere, andart of the areas in question.

National cultural facilities
National Institutes
for Cultural Heritage
The National Art Center,
Tokyo
National Museum of
Nature and Science,Tokyo
National Ainu Museum

Japan Cultural Expo
Secretariat,
Japan Arts Council
Secretary-General:
President of
the Japan Arts Council

National Archives of Modern Architecture,
Agency for Cultural Affairs
Planning &implementation

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Verification Report on Holding Japan Cultural Expo Summary 2020

Participatory Format
Participatory Projects

Standout initiatives created by local communities and organizations and approved forinclusion in the Japan Cultural Expo program.

Verification Report on Holding Japan Cultural Expo Summary 20205

Summary
Noriko Yagasaki
Professor, Division of Global Social Sciences,
School of Arts and Sciences, Tokyo Woman's Christian University
The Japan Cultural Expo, which has an overarching theme of “Humanity and Nature in Japan,” will reach its final
stage in 2021. In order to achieve the three policy goals of strengthening Japan’s foundation as a nation of culture
and the arts, strengthening national branding, and expanding inbound tourism while attracting foreign travelers
visiting Japan to Japan’s regional areas, numerous and diverse projects and activities were held all across Japan in
FY 2019 and FY 2020. Although greatly impacted by the spread of COVID-19, the majority of these projects andactivities were implemented by exploring and using new methods appropriate for the conditions of COVID-19.
Large-scale initiatives such as the Japan Cultural Expo are potentially exposed to event-based risks that cannot be
anticipated at the planning stage. However, it’s important to emphasize that in overcoming this crisis with wisdom,
ingenuity, and cooperation, achievements and legacy that encourage both culture and tourism have been gained at
the local community level. In the future, the methods used to verify the outcomes of the Japan Cultural Expo will
be improved and the results obtained over the past two years will be shared and utilized in this year's projects andactivities. The challenge is to create something that will make both Japanese people and those overseas wishing tovisit Japan feel glad that they attended the Japan Cultural Expo.

1. Status of implementation of Japan Cultural Expo projects(1) Outcomes
As the name suggests, the Japan Cultural Expo took place all over Japan, over two years between FY 2019 andFY 2020, with events held in all of Japan’s 47 prefectures. Calculating the total number of activities using the same
method as the cultural program at the 2012 London Olympic and Paralympic Games, at least 19,269 activities took
place in FY 2019 and at least 14,279 activities took place in FY 2020, for a total of about 34,000 activities. The total
number of participants was more than 19.7 million in FY 2019 and more than 13.77 million(*1) in FY 2020 (whenadmissions were restricted to prevent the spread of COVID-19), for a total of about 33.5 million participants. The
cultural program during the London Games (2008–12) had a total of 117,717 activities and a total of 43.4 million
participants. In comparison, while the total number of participants for the two years of the Japan Cultural Expo
does approach the scale of the London Games, the number of activities was far behind the London Games, butwith more participants per activity.

Table: Implementation outcomes of Japan Cultural Expo projects
Total activities

Total attendees

Prefectures where
hold the eventsMedia/press

FY201919,269+ activities

19.7 million+

47 prefectures

5,218 + instances

FY202014,279+ activities

13.77 million+

46 prefectures

18,041 + instances(*1)

exposure(2) Characteristics of each year
 FY 2019: Awareness in the very first year of the concept of the Japan Cultural Expoand the participation of foreign travelers visiting Japan
Open calls for applications started in April 2019, with 69 out of 118 Presented and Co-presented Projects selectedfrom public applications and 69 out of 177 Grant-supported Projects selected from public applications, as well
as 288 Participatory Projects comprising distinctive projects from regions and organizations whose contents wereverified. Presented and Co-presented Projects and Grant-supported Projects were selected through a competitive
process, ensuring a certain level of accomplishment. In 2019, the number of foreign travelers visiting Japan
reached a record high of 31.88 million, and many organizations developed and implemented multilingual supportand experiential programs for foreign tourists, assuming high participation of foreign tourists. In addition, manyorganizations worked to devise exhibited works and stage performances that would represent Japan, consciously
intending to contribute to efforts to express the Japanese aesthetics in relation to nature, which is the concept of
the Japan Cultural Expo.

 FY 2020: Many projects adopt preventive measures against infection,
as well as new directions for utilizing digital
With government requests to voluntarily refrain from non-essential and non-urgent outings and from travel outsideeach prefecture, as well as ongoing declarations of the state of emergency ever since Japan’s first confirmed caseof COVID-19 in January 2020, the Japan Cultural Expo has been greatly impacted. As policy for implementation,
three key points were established—after taking all possible measures against COVID-19 infection, to move ahead
with projects wherever possible; to make necessary adjustments such as changing times or venues in light of the
COVID-19 situation; and if canceling or postponing an event until the following fiscal year is unavoidable, toproduce and distribute multilingual video content as much as possible. As a result, of the 61 Presented and Copresented Projects, 1 project was implemented as planned, 56 projects were implemented within the same fiscal
year with changes made, and 4 projects were not implemented in that fiscal year. Of the 101 Grant-supported
Projects, 22 projects were implemented as planned, 56 projects were implemented within the same fiscal year withchanges made, and 23 projects were not implemented in that fiscal year.
Although 69.1% of projects selected from public applications after a screening process made changes to timing,
venue, etc., if those implemented as planned are included, 83.3% of projects were successfully implemented. Thiscan be described as the result of organizations doing their best to prevent infection at the same time as overcoming
various issues such as restrictions on admission or travel. In addition, more than 80% of organizations produced
digital contents and distributed them online. Among them, some organizations were attempting such production
and distribution for the very first time. Many organizations also tried sharing and promoting information online orvia social media, picking up useful responses for the future projects. Restrictions on directly gathering helped boost
awareness of digital utilization and actual experiences of this project.

(*1) Includes participants (viewers) of events held online due to the impact of COVID-19.

[Kimono: Fashioning Identities]
Left: Exhibition view of Room 4 − Kimono: Fashioning Identities − ©Tokyo National Museum
Right: Gallery talk video − Kimono: Fashioning Identities − ©Tokyo National Museum

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Verification Report on Holding Japan Cultural Expo Summary 20207

2. Outcomes of Japan Cultural Expo projects(1) Framework to verify effectivenessThrough (1) cultural outcomes; (2) social outcomes; (3) expanding inbound tourism; and (4) economic outcomes,
the Japan Cultural Expo’s goals are set to achieve its three policy goals—strengthening Japan’s foundation as anation of culture and the arts, strengthening national branding, and expanding inbound tourism while attracting
foreign travelers visiting Japan to Japan’s regional areas. Of these, with regard to (3) expanding inbound tourism,
after Japan imposed restrictions on immigration due to the COVID-19 pandemic, it was decided to insteadincorporate domestic tourism demand and stimulate inbound tourism demand after the pandemic was resolved.

(2) Verifying 4 types of outcomes
Based on the results of questionnaire surveys and interviews with organizations running Japan Cultural Expo
projects, as well as expert analysis, four types of outcomes are to be verified.

 Social outcomes
Of the outcomes involving social aspects, gain in civic pride (regional pride) was the highest, rated at 53.2% in
FY 2019 and 50.9% in FY 2020. Specifically, by taking part in the Japan Cultural Expo project, local elementary
school students find out about the history and culture of their own regions, learn a lot through creative activities,
and, in the process, deepen their interactions with diverse adults in their regions. As a result, they often rediscover
the areas in which they live and gain pride as local residents. These elementary school students become more
active in their daily lives, and this seems to inspire some adults who encounter these elementary school students tothink positively about what they too can do for the community and to take action. It is believed that restrictions
on travel due to the COVID-19 pandemic likely encouraged the participation of local residents, producing similar
outcomes in many local areas. Civic pride changes one's own way of thinking and lifestyle in a positive way, but forregions, it also plays a major role in community development and regional revitalization, and it signifies an increasein the number of people actively working to keep the region going. This is a vital asset to keep local regions wellmaintained and energized.
In addition, many projects were also implemented with the participation of children and young people, generatingawareness among the younger generation of playing a role in local culture. Another important outcome is thatparticipation in these projects encouraged more interaction by the younger generation with the local community.
It’s easy to imagine how people from various different layers in each region are inspired to move around andinteract, centered on Japan Cultural Expo projects.

 Cultural outcomes
As an outcome related to the intrinsic value of culture and the arts, organizations most frequently cited “Rebuilding
the appeal of the genre in question and emphasizing its value,” which was ranked at 76.6% in FY 2019 and 63.1%
in FY 2020. When assembling already recognized appeal and value as a Japan Cultural Expo project, organizations
communicate with various stakeholders, think about how to best convey appeal and value from the participants’standpoint, and meet the challenges of utilizing digital technology. In the process of doing so, each organization
discovered appeal and value of which they had been previously unaware. As an example, in the genre of art andcultural assets, utilization of VR allows viewers to see cultural assets from angles difficult to see on a tour just as if
they were up close, delivering an experience with more information than directly visible with the human eye. This
project was successful in making cultural assets more enjoyable, thereby deepening interest in and understandingof cultural assets. Also, in the genre of outdoor traditional performing arts, by rising to the challenge of firsttime livestreaming and providing opportunities to easily participate for those without opportunities to encountertraditional performing arts, this project has shared the value of traditional performing arts and deepened
understanding of their distribution by people involved in traditional performing arts.
Many organizations cited two outcomes related to the formation of a platform supporting culture and the arts—
the ability to gain know-how through new methods and productions, and the ability to construct new partnerships.
The former means that know-how was acquired about strategic promotions and dissemination of information,and that new methods/productions and cutting-edge technologies were successfully introduced to cultural andarts resources such as cultural assets. The latter new partnerships include new destinations that transcend culturaland artistic genres, such as education, welfare, and tourism administrations, chambers of commerce, tourism
associations, destination marketing organizations (DMOs), and companies. The field of culture and the arts tends
to be somewhat inward-looking due to its high degree of specialization and old traditions, but the opportunity towork on the Japan Cultural Expo has offered encounters with diverse local entities and enabled the building ofcooperative relationships. This means that it has laid a foundation for the future by opening channels to discuss
the creation of a system to support culture and the arts throughout local regions, and expand the possibility ofacquiring human resources as successors to whom traditions can be passed down.

[Culture and Art Hub Creation Project for Persons with Disabilities]− DANCE DRAMA “Breakthrough Journey” ©BIG-i

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Verification Report on Holding Japan Cultural Expo Summary 2020

Verification Report on Holding Japan Cultural Expo Summary 20209 Incorporating domestic tourism demand & stimulating inbound tourism demand
In FY 2020, when inbound tourism could no longer be expected, Japan Cultural Expo projects were also implemented
with an eye on generating demand centered on local residents. In this process, outcomes such as cultivating civic
pride and promoting interactions within local regions, which were seen as social outcomes, became manifest. On
the other hand, according to the results of a questionnaire survey in FY 2020, 57.9% of organizations pursued
multilingual solutions such as pamphlets and audio guides, and 45.8% of organizations pursued multilingual PR
activities and strategic promotions online. The former action was to ensure a more receptive environment in
preparation for the recovery of inbound tourism demand, while the latter is thought to have played a role inensuring that the appeal of Japan is not forgotten through the Japan Cultural Expo. The latter actions also involved
some future-oriented aspects, such as organizations increasing their knowledge and experience of media channels
that are convenient for disseminating information overseas, analyzing responses after disseminating information
overseas, and reexamining their targeting criteria.
Also, it should not be forgotten that the Japan Cultural Expo itself creates high-quality cultural content contributing
to the promotion of tourism in the future. Over two years, a total of about 34,000 activities have been carriedout. Of these, content and programs have emerged that are attractive to Japanese tourists and inbound tourists.
Future verification of the extent of this will have to wait, but it is likely that participating in the Japan Cultural
Expo and considering ways to explain things from a non-Japanese perspective will provide opportunities to refine
approaches in unprecedented ways. Further, the human resources involved in the creation of cultural content gain
the skills and experience to create appealing cultural content in the future, which can be described as a legacy forthe promotion of tourism. Tourists love culture and the arts, but the field of culture and the arts on the supply
side and the field of tourism are not always closely connected. When cultural content is created for the purpose of
tourism, it usually only involves the viewing of cultural assets, while their details remain insufficiently explained. Inorder for tourists to understand the inherent appeal and value of cultural assets, it is essential that those engaged
in the field of culture and the arts take a leading role, supported by those engaged in the field of tourism. I believe
this will help provide more authentic experiences to those visiting as tourists.

[Special Exhibition: Kōgei 2020 − The Art of Crafting Beauty from Nature]
Interactive program of Kōgei Dining ©Japan Arts Council

 Economic outcomes
If Japan Cultural Expo projects were carried out as originally planned, many participants would have come together
and significant contributions would have been made to regional economies however, due to COVID-19 restrictions
on travel, we faced a situation where inbound tourism was not expected, and participation by Japanese people waslimited to neighboring regions. For this reason, the reality is that numbers of participants and expenditures on
consumption at actual venues were less than planned, and economic outcomes were less than initially projected
for each project. In addition, according to the FY 2020 questionnaire survey, 28.5% of organizations repliedthat they had suffered financial damage due to the impact of COVID-19. Looking closely at the amounts, thefinancial damage was most frequently in the 100- to 500- million yen-range or the 10- to 50- million-yen range.
Costs required for measures against infection (such as disinfection) were incurred, labor costs increased due tothe postponement of the project period, securing corporate sponsorship was difficult, and participation fees weresignificantly reduced—all of which were harmful factors.
[Virtual Guide − NAKED SAMURAI & NINJA]
AR, VR, sound, and CG direction ©naked inc.

Japan Cultural Expo Special TV Program/
Broadcast on BS Nippon, NHK

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Verification Report on Holding Japan Cultural Expo Summary 2020

[Yabusame Praying for World Peace and People’s Health]“Yabusame The Art of Houseback Archery”©The Japan Equestrian Archery Association

On the other hand, the number of online participants is believed to have increased significantly for projects thatswitched to online or were held as a hybrid of actual venue and online venues. It is unlikely that online participants
will make up for lost consumption by actual participants, but it is possible that more participants from all over theworld will take part online than actual participants—in this respect, raising awareness can be considered to have along-term impact.

[Special Exhibition: Kōgei 2020 − The Art of Crafting Beauty fromNature] Online Symposium ©Japan Arts Council

Verification Report on Holding Japan Cultural Expo Summary 202011

(3) Efforts made by cultural and artistic organizations
The various efforts made to overcome the adversity of the COVID-19 pandemic were a great accomplishment. The
most important effort was the promotion of digital transformation (DX) in organizations implementing projects,
which resulted in innovations such as restructuring the appeal of cultural assets and diversifying implementation
methods. Various examples include the majestic appearance of the ancient towering temple of Izumo Taisha being
restored and delivered via VR/AR; advanced technologies such as real 4K video, 360° VR, projection mapping, andtime-lapse video being used in architectural exhibitions to convey appeal across generations where the real thing
was unable to be exhibited; and gallery talks recorded and distributed in both Japanese and English to supplement
recorded videos in exhibition venues. Various efforts were also made for implementation methods, such as online
tours, hybrid events with a limited number of venue participants supplemented by online tours, livestreaming andrecorded streaming of performances, and livestreaming of international symposiums accompanied by simultaneous
online streaming of exhibition venues via 360° VR imaging. These efforts, and the resulting innovations, represent
an important legacy with significance for the future.
These organizations’ DX solutions gave people in Japan and abroad more options for ways to participate, and it
is very likely that people who otherwise may not have been interested in attending at regular venues also enjoyedonline tours, video streaming, and so on. The efforts made by these organizations have brought people closer to
the Japan Cultural Expo. Of those from overseas who benefited from the efforts made by these organizations, we
can presume that many discovered (or rediscovered) the appeal of Japan, their opinion of Japan improved, andmany were inspired to travel to Japan someday.

3. Future issues(1) Ensuring safety and peace of mind
The safe, successful implementation of Japan Cultural Expo projects through implementation of measures toprevent infectious disease and having numerous participants both from Japan and overseas attend actual venues
and online events with peace of mind are the top priorities of this fiscal year. All organizations are required tothoroughly implement measures to prevent infectious disease and to confirm that these have been firmly observed.
In addition, while sharing expertise in each genre deriving from experiences of projects held in the past and taking
measures to prevent infectious diseases, the Agency for Cultural Affairs and the Japan Cultural Expo Secretariat
also need to provide support so that the goals of each project can be achieved.

(2) Improving system design of evaluation methods
To ensure that the outcomes achieved by those working hard on the Japan Cultural Expo projects all over Japan
can be properly evaluated, methods of evaluating these projects must be improved at an early stage and shared withproject-implementing organizations. Ideally, evaluation methods would be in place from the planning stage of the
project, but in order to make the evaluation of the outcomes of full-scale implementation in FY 2021 as accurate
and as convincing as possible, it is necessary to start improving the evaluation process as soon as possible.

 Understanding the relationships among the three policy goals and Japan Cultural Expo projects[Workshop Festival Izumo Where the Gods Gather: Japan Cultural Expo in IZUMO]
Ancient Izumo Taisha high-rise shrine (VR) ©Izumo City

The three policy goals—strengthening Japan’s foundation as a nation of culture and the arts, reinforcing national
branding, and expanding inbound tourism while attracting foreign travelers visiting Japan to Japan’s regional areas(changing to incorporate domestic tourism demand and stimulate inbound tourism demand after COVID-19)—
are all significant goals, and although the Japan Cultural Expo is expected to contribute to these, they will not
be achieved by the Japan Cultural Expo alone. In regard to the goal of strengthening Japan’s foundation as anation of culture and the arts, the Japan Cultural Expo increases the number of people who are interested inculture and the arts by acquiring new participants in projects; encourages project-implementing organizations togenerate awareness and behavioral changes toward ongoing activities by participating in the Japan Cultural Expo;rebuilds the appeal and value of cultural resources by utilizing digital technology; and expands cooperation withthose involved in other fields such as tourism, thus contributing by increasing the number of supportive groups
in local regions, etc. It is appropriate to consider such matters in light of individual goals, clearly identify the roleof the Japan Cultural Expo with respect to each goal, and measure whether or not they have been achieved. The
strengthening of national branding should be evaluated as a group of policies implemented as a national policy toachieve this goal. As for the role of the Japan Cultural Expo, I believe it is appropriate to measure from the innerbranding perspective whether civic pride has been fostered, and, from the outer branding perspective, whether
the degree of interest of non-Japanese people in Japanese culture and the arts has increased. This outer branding
perspective can be evaluated together with the goal of stimulating domestic tourism demand and inbound tourism
demand after COVID-19.

体感！ 日本の伝統芸能 VR[Japanese Architecture: Traditional Skills and Natural Materials]
Scale models of the Temples at Hyokeikan ©Japan Arts Council

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[UNESCO Intangible Cultural Heritage Special Exhibition The World of
Traditional Performing Arts Kabuki, Bunraku, Noh and Kyogen, Gagaku,
Kumi-odori] VR image of The World of Traditional Performing
Arts Online ©Japan Arts Council[The Sacred Islands of Okinoshima
and Associated Sites in the Munakata
Region]©Preservation and Utilization Councilof “Sacred Island of Okinoshima andAssociated Sites in the Munakata Region”[Special Exhibition: Kōgei 2020
− The Art of Crafting Beauty from Nature]
Murose Kazumi. Hexagonal covered box
with oak leaf design in maki-e and motherof-pearl inlay. 2014
©Japan Kõgei Association[Discover KUMIODORI “Nidou Tekiuchi”]©National Theatre Okinawa

Verification Report on Holding Japan Cultural Expo Summary 202013 Accurately understanding output
In order to measure outcomes, it is first necessary to understand the output of the Japan Cultural Expo as accurately
as possible. To this end, it is crucial that we create definitions for required data and guidelines for measurement
methods and ensure that project-implementing organizations understand and practice these. Online training forgroups held by the Japan Cultural Expo Secretariat is also required. It is important to understand basic data
points such as the number of projects, the number of participants (especially number of online participants), andnumber of non-Japanese people among participants.

 Guidelines for estimating economic outcomesWith regard to the economic outcomes of Japan Cultural Expo projects, at the moment, the amount ofconsumption by participants is quantitatively understood, while the economic outcomes of other channels (suchas the production inducement effect due to project costs) are not understood; therefore overall outcome may beunderestimated. It is difficult to gain an accurate understanding of economic outcomes in the field of culture andthe arts, but we must devote our efforts to getting closer to understanding the situation. To this end, we need toformulate guidelines for estimating economic outcomes as soon as possible, and create an environment in whichthese can be utilized. First, if this method is tried and it is found that variations in the economic estimation method
are enough to threaten the reliability of project evaluation, then the challenge in the future will be to develop an
app that enables all organizations to mechanically use a shared estimation method.

 Temporal concepts for evaluation
It should be noted that there may be delays in the onset of outcomes—some outcomes will become apparent
in the short term after projects are implemented, while other outcomes will only be obtained in combination
with other factors in the medium to long term, etc. While expressing these different time frames for outcomes
distinctly—and with a particular emphasis on the amount of “legacy” that has been obtained, which serves as afoundation for continuing to produce desirable outcomes in the future—we need to carefully analyze the processes
and systems involved in project implementation, and to deepen our understanding through qualitative evaluationby conducting thorough interviews with stakeholders.

(3) Stimulating future inbound tourism demand Forecast recovery in demand for travel to Japan
According to a survey of experts conducted by the United Nations World Tourism Organization (UNWTO),
50% of respondents expected that international tourism will show signs of recovery in 2022 and 43% expected
a return to 2019 levels by 2023, while 41% replied that this would be achieved by 2024 or later. The International
Air Transport Association (IATA) is predicting that demand for international travel will exceed 2019 levels by2023, given the global vaccination situation. However, in FY 2021, the year of full-scale implementation of theJapan Cultural Expo, although domestic (Japanese) demand for travel is expected to recover, inbound tourism is
expected to be limited, and intake of inbound travelers will be a gradual process. For this reason, it is assumed thatparticipants in Japan Cultural Expo projects will be Japanese and people participating online from overseas. The
former are expected to deliver outcomes that contribute to strengthening Japan’s foundation as a nation of culture
and the arts, while the latter are expected to contribute to greater number of foreign travelers visiting Japan in the
future.

 Increasing motivation to visit Japan through cultural assets
Overseas, the motivation to visit Japan is high. In 2020, the Development Bank of Japan and the Japan Travel
Bureau Foundation conducted a “Survey of Tourist Travel to Japan from Asia, Europe, the United States, andAustralia”(*2) among people in Asia, Europe, the United States and Australia with experience of overseas travel.
According to the results, there is strong intention to travel abroad after the pandemic situation returns to normal,
with Japan being nominated as the top preferred travel destination by people living in Asia and nominated as
the second by people living in the United States, Europe, and Australia. However, looking at the “Survey ofConsumption Trends of Foreigners Visiting Japan (2019)” conducted by the Japan Tourism Agency, before visiting
Japan 22.8% of foreign visitors expected to visit “Galleries & museums,” while the percentage of foreign visitors
actually visiting “Galleries & museums” in Japan was 31.3%, and the percentage of those answering that theywould like to go again next time was low at 18.2%. The percentages for “Viewing stage/musical performances”
were even lower. It seems that the appeal and value of Japan's cultural assets are not being promoted enough toserve as strong motivators to visit Japan.
As future issues, it is conceivable that Japan Cultural Expo projects will help stimulate inbound tourism demand bycomprehensively grasping and analyzing factors such as the number of projects that improved their methods ofconveying the appeal and value of cultural assets (via accurate, appealing multilingual notes, etc.), the number (andcontent) of projects that conveyed appeal and reconstructed value for non-Japanese participants by utilizing digitaltechnology, the incidence of online streaming overseas, the number of overseas participants in such streaming, andevaluations from overseas participants (for instance, whether streaming of Japan Cultural Expo projects sparked
interest, respect, or admiration for Japan, etc.).

 Depending how evaluation results are shared, it may be possible to motivate people to visit Japan
In the case of the UK cultural program, the evaluation outcomes of the program were presented in a way thatwould be appealing to inspire admiration for British cultural activities and spark imagination about the richnessof rural areas. In particular, the work of Sue Austin, who performed an underwater walk in a wheelchair at the
Unlimited Festival, made a spectacular impression on the world. If at all possible, I hope that the Japan Cultural
Expo will also showcase projects capable of providing such strongly appealing images.
To also move beyond the case of London, I hope evaluation results of the Japan Cultural Expo will be presented,
bringing together instances where the future of this world can be glimpsed from the ways in which cultural assets
are utilized, including courageous initiatives to overcome the constraints of the COVID-19 pandemic, innovative
initiatives utilizing digital technology, and initiatives in line with the SDGs, and it will help us in gaining the respectand empathy of the world.
[Japan Cultural Expo Special Performance at the Kokyo Gaien National Garden: Representation of Prayer]
March 12, 2021 ©Japan Arts Council

14

Verification Report on Holding Japan Cultural Expo Summary 2020(*2) DBJ and JTBF: Survey of Tourist Travel to Japan from Asia, Europe, the United States, and Australia
https://www.dbj.jp/upload/investigate/docs/0f94041ee3e610e155c479b6da1cda15.pdf

Verification Report on Holding Japan Cultural Expo Summary 202015

Impacts and achievements
Total attendees

Prefectures where hold the events

Average attendees countJapan Cultural Expo projects were held in

50(some projects remain unanswered)

2019
2020

19.7 million+

all 47 prefectures between 2019 and 2020.

13.7 million+* Values are provisional only
(currently under examination because online participationand viewers of streamed videos, etc. are included)

Through expansion of the projects in various
formats including Presented and Co-presented
Projects, Grant-Supported Projects, andParticipatory Projects.

(%)
2019

40

36.4

30
20

2020

25.5
18.4

28.9 29.0

27.2

18.5

16.1

10

Total activities

0Less than 1,000

1,000 toless than 10,000

10,000 toless than 50,000

50,000 or more(some projects remain unanswered)2019

19,269+ activities

2020

14,279+ activities

Japan Cultural Expo projects tend to be large-scale projects.
* Total number of activities calculated using
the same method as the cultural programat the 2012 London Olympic and Paralympic Games.

About half of these projects attract
10,000 people or more.

Reference: London Games results. (total from 2008–2012)
Total attendees: 43.40 million people
Total activities: 117,717 activities[Fashion in Japan 1945-2020]

Main target attendees
020

Foreigners

Media/press exposures

43.9

Visitors from outside
the region

2019

5,218+ instances of media coverage

2020

18,041+ instances of media coverageChildrenElderly people
From local community/ within the region
People with disabilities

Regional TV

Nationwide TV
networks

Regional
newspapers

National
newspapers

Web

Other

1.9

7.0
38.1

Unspecific target

2019

660 instances(35.8%)

104 instances(24.1%)

984 instances(47.5%)

663 instances(36.8%)

2,807 instances(41.8%)

2020

3,537
instances(41.6%)

538
instances(27.6%)

1,694
instances(58.9%)

1,544
instances(38.3%)

10,728
instances(53.2%)

53.2

51.2
41.1
45.2
40.7
45.2
39.7
48.5
38.3
37.8
34.6
40.8
30.4

Young people(some projects remain unanswered)

60 (%)

40* Multiple answers

45.3
2019

2020

[Super Angels]
Alter3 (Supported by mixi, Inc.)©New National Theatre, Tokyo* Figures in parenthesis ( ) indicate the percentage of project organizers with projects introduced through various media formats.
2019（N;全数）

16

Verification Report on Holding Japan Cultural Expo Summary 2020

2020

2019

2020

N= 299 214

Foreigners

53.2 43.9

Young people

51.2 41.1

Visitors from outside
the region

45.2 40.7

Verification Report on Holding Japan Cultural Expo Summary 202017

Outcomes related to the intrinsic value of culture and the arts

Outcomes related to formation of platforms to support culture and the arts

Many organizations cite “rebuilding and valuing appeal” and “sharing and revitalizing cultural activities in Japanand overseas” as outcomes fields covered by these projects, which can be expected to help strengthen Japan’sfoundation in the culture and the arts.

The Japan Cultural Expo is an opportunity to introduce new methods and state-of-the-art technologies in culturaland artistic representations, and to acquire know-how regarding promotion of these, with new collaborations andpartnerships already in the process of being built.

0

20

40

60

Rebuild and value the appeal of the genre

63.1

Share the genre inside and outside Japan
Stimulate cultural activities

49.5

76.6

56.9

29.8
31.8

Collaborate between traditional culture
and modern creativity
Improve the ability to plan for cultural programs,
experiential programs, etc.

26.2

0

80 (%)

32.1

35.1
33.6

Build and reinforce cooperation with administrative
fields such as education, welfare, and tourism

25.8
27.6

Build new partnerships transcending cultural and artistic genres

26.6

Stimulate cultural activities by local residents

25.8
23.4

Build frameworks for large-scale projects through collaboration
between local governments and arts organizations

20.1

22.4
17.8

Foster human resources to play a rolein cultural and the arts projects

22.4
17.3

12.4
12.6
2.0
0.5

36.5

26.8

18.4
15.4
12.6

17.1

* Multiple answers
2019

2020

● Previously, projects have been organized mainly by NPOs, but the Japan Cultural Expo offers opportunities
to collaborate with various local entities (chambers of commerce, tourism associations, tourism products
associations, DMOs, etc.) in the executive committee format. Outcomes include greater ease of acquiring
cooperation from local residents and further permeation among local residents.

17.1
12.6

Discover and develop artists
Create and develop arts NPOs, etc.

Construct a system for industry-government-academia collaboration

21.0

50 (%)

25.8

Increase and foster successors in culture and the arts

Realize new creativity through collaboration
across countries and regions

40

Acquire know-how for strategic promotions
and sharing of information

Build new partnerships transcending countries and regions

Stimulate cultural activities by children, young people,
elderly persons, and people with disabilities

30

33.4
34.1

25.1
23.8

22.7
20.6

20

Introduce new methods/productions and state-of-the-art technology
for cultural and the arts resources such as cultural assets

Demonstrate and foster the creativity of artists

Realize new creativity in collaboration withmultiple fields of culture and the arts

10

* Multiple answers
2019

2020

● In VR, tigers on painted room partitions and blue butterflies, cranes, dragons, and tigers on decorated gates pop
out as CG creations, Furthermore, those pieces of art situated far from tour courses and thus dfficult to see canbe viewed up close with VR. This helps elevate the appeal of new cultural assets and allows visitors to experience
their value without having to be there in person.

● In the special situation of architectural exhibitions, which are exhibitions in which the actual article
cannot be exhibited, we instead focused on communicating the appeal of architecture via various
advanced technologies such as real 4K images, 360° VR, projection mapping, and time-lapse images.
As a result, we have been able to provide opportunities for people of all generations to encounter architectural
exhibitions and other state-of-the-art exhibitions, which are rarely experienced in rural areas.
● The first project in which seven neighboring prefectures come together to promote their appeal is being planned
and will be implemented in collaboration with Japan’s national government, local municipalities, organizations
registreted as Japanese DMOs, and many private sponsor companies. The cooperation systems and efforts madetoward this project will become a major asset even after the actual project is over.

● Certain kimonos and paintings of great beauty that were never exhibited in Japan since they first went overseas
were exhibited. These are not always exhibited by overseas museums that hold them, so they cannot be seen by
Japanese people—thus, it is significant that we can showcase in Japan such wonderful works and articles fromoverseas collections.

18

Verification Report on Holding Japan Cultural Expo Summary 2020

Verification Report on Holding Japan Cultural Expo Summary 202019

Outcomes related to social aspects

Outcomes related to economic aspects

Many respondents said that their civic pride increased, centering on projects with roots in the local region. In
addition, many project organizers cited the promotion of interactions across generations and cultures as an
outcome, and the implementation of projects is believed to have contributed to the passing down of local culture
and sharing of information.

We need to understand the economic outcomes that accompany these feelings from a medium- to long-term
perspective, but approximately half of the project organizers indicated that the outcomes “Improve regional brandpower” and “Improve international messaging” were present, which will affect future economic outcomes.

0

20

40

53.2
50.9

Improving civic pride
Promotion of next-generation development such as
children and young people

34.1

Promotion of co-existence of cultures

29.0

Promotion of multi-generational and regional exchanges

28.5

Enhancement of efforts in the fields ofeducation and welfare

Promotion support for the elderly

20

40.8

10.7
7.0

35.8

Promote culture and arts-related industries
such as traditional crafts

34.4

Expand non-resident population withJapanese population and overseas visitors* Multiple answers
2019

2020

Grow local economies and employment,
expand resident populations

54.5

32.8
33.2
24.7

29.4

28.0

38.5

23.4
20.1

Stimulate commerce, tourism, food services
Strengthen cooperation between regional
cultural hubs and commercial areas

60 (%)
48.1

Encourage use of distinctive local buildings andpublic spaces (roads, watersides, parks, etc.)

16.7
16.7

40

Improve international messaging

16.4
13.1

Promotion of civic collaboration

20

Improve regional brand power

21.5

Promotion of an inclusive society with diverse
people such as people with disabilities

060 (%)

19.2

24.1

8.4
6.1
5.0
5.6

* Multiple answers
2019

2020

● In the course of making movies, elementary school students learned about their region’s history, learned
about manufacturing, and deepened their interactions with locals across multiple generations, which worked
to encourage civic pride. By doing so, these elementary school students become more active in their daily lives,
which also seemed to inspire some adults to proactively think about what they too could do for their community.

● It is believed that implementation of projects has expanded the appeal of Japan’s towns, both inside and outside
local regions. In terms of economic outcomes, in a survey of local stores asked “Did customer numbers increaseduring this event?” 54% of stores replied “Increased” or “Slightly increased.” It is thought that even amid the
COVID-19 pandemic, a certain level of fan support was achieved, which had a ripple effect on local economies.

● Being able to produce works inclusive of people with disabilities through a network of four overseas bases
has helped to raise Japan’s international status as a cultural and artistic base for people with disabilities. Thiswas covered by local media, which expanded interest in the cultural and artistic activities of local people withdisabilities and also promoted Japan’s initiatives for art by those with disabilities.

● In promoting culture and the arts as well as branding of local urban appeal, taking advantage of the strong
economic ripple effect accompanying implementation of projects actively worked to energize local economies
and expand inbound tourism. Registration as a World Heritage Site increased appeal both in Japan and overseas,enabling the development of projects and the broad dissemination of information.

● The project was implemented during the COVID-19 pandemic, which helped to reaffirm familiar cultural values
by making local residents and prefectural residents the main targets.

● By providing opportunities at social dining events for participants to witness beautiful aspects of crafts unable
to be fully understood simply by viewing them, and by exhibiting and selling crafts at these venues, new sales
channels for crafts were successfully expanded.

Verification Report on Holding Japan Cultural Expo Summary 2020

Verification Report on Holding Japan Cultural Expo Summary 202021

Initiatives in the spirit of accepting foreign visitors

Outcomes expanding inbound tourism

In addition to multilingual support, some project organizers are developing programs to meet the needs of foreign
visitors and working on experiential projects for foreign visitors. Also, due to the COVID-19 pandemic, the numberof project organizers engaging in multilingual PR activities via the Internet increased in 2020.

Due to the COVID-19 pandemic, the participation of foreign visitors was not expected in 2020, but efforts toaccept visitors are being continuously implemented, and the outcomes of those specific efforts are evident. These
outcomes are believed to encourage future recovery of inbound tourism.

0

20

40

60

Multilingualization of pamphlets, audio guides, etc.

80 (%)
73.2

57.9
37.8

Multilingual PR and strategic promotions via Internet

0

20

40

Improve awareness and understandingof genres among foreign visitors

50.9

Multilingualization of buildings and access/traffic signage

20.7
19.2

Develop programs based on the needs of foreign visitors

17.7
17.8

Ticket sales, etc. in multiple languages via the Internet

22.1
18.7

Construct strategic promotions systems aimed
at foreign visitors

14.4
17.3

14.7
12.6

Develop new programs based on the needs of foreign visitors
Run experiential projects aimed at foreign visitors(demonstrations, workshops, etc.)

Increase numbers of foreign visitors
to project implementation areas

19.1

9.8

Consumption & economic ripple effect due to foreign visitors

10.7
9.3

Performances, tours, etc. accompanied by multilingual lectures
PR and strategic promotions in free papers, magazines,
newspapers, etc. aimed at foreign visitors

8.9

Interactions between foreign visitors and Japanese people

7.5

Cooperative planning by multiple regional cultural hubs

5.6

Attract visitors for accommodation stays with broader
development of events such as arts festivals

6.0
2.8

Ticket discount system for foreign visitors

2.7
2.3

Activities linked to learning Japanese language

3.0
2.3

Increase numbers of foreigners moving
to live in project implementation areas

80 (%)

65.9

32.8
31.8

Improve recognition, awareness, and understanding of
project implementation areas

45.8

60

4.7
4.2
1.4

20.4
18.4
* Multiple answers
2019

2020

15.1
17.7

10.7

● We introduced English consecutive interpreting of live announcements at venues. Live streaming was alsoavailable, which helped foreign visitors to view it. As high-level experts also active on the diplomatic front wereassigned to interpreting, some people from overseas mentioned that it was easy to understand in fluent English
and it felt like actually being there.
* Multiple answers
2019

2020

● When a promotional video aimed at overseas markets was released via YouTube advertising, we found thatcountries with a large number of past visitors to the prefecture differed from countries with a high audiencerating. Devising target groups for people making future visits to the implementation area was very effective.
● Introducing projects widely to people overseas via NHK World stimulated desire for future inbound tourism.

● To share information, alongside developing a multilingual website, we worked with Google Arts & Culture topromote this exhibition overseas and work on outreach.

● Although it was hard to actively attract visitors, these efforts such as remotely sharing exhibited works andcommunicating the appeal of the town and art works to people overseas will be useful in the future.

● For people unable to actually visit, we introduce works and interview people involved via our YouTube channel.
We believe we have successfully laid a foundation for tourist visits after the COVID-19 pandemic settles down.

22

Verification Report on Holding Japan Cultural Expo Summary 2020

Verification Report on Holding Japan Cultural Expo Summary 202023

Outcomes leaving a legacy for conveying the appeal of Japanese culture

Strengthening national branding through culture, outcomes leaving a legacy for expanding inbound tourism

Responses to all items were increasing through FY 2020, and outcomes to be utilized in the future on various
fronts were obtained. Further, it seems that many project organizers believe they need to deliver programs topeople in Japan in order to convey appeal of these programs.

It is believed that various efforts to share information that have been affected by the COVID-19 pandemic represent
experience value for project organizers. Also, with “Cooperative planning by multiple regional cultural hubs”
mentioned as an outcome, it can be seen that cooperation is also considered an important factor for strengthening
national branding.

0

20

40

60

80

80.9
85.0

Rebuild and value the appeal of Japan’s own culture

61.9

Promote the culture and the arts overseas
through project implementation

Expand cultural programs and opportunities for experiences forchildren, young people, elderly persons, and people with disabilities
Appealing programs
Creation know-how

44.5

2020

● Although planned to be held as a historical Noh festival with links to the Olympic and Paralympic Games, theeffect on inbound tourism was almost zero due to the impact of COVID-19. However, this was a very significant
event for future promotions and development of Noh theater—an ambitious project introducing initiatives thatwould become cultural resources in the future, including video streaming and video creation.
● Features of this project include building new collaborations with companies, local governments, etc. by archiving
successful outcomes, as well as enhancing training and support for the next generation. Expanding the roles,
potential, and activity sites of art/artists in our future world/society will lead to the sustainable development ofarts and culture that Japan can be proud of and will drive further creativity in the future.

24

Verification Report on Holding Japan Cultural Expo Summary 2020

54.7

30.8
32.7

Development of experiential programs
for foreign visitors to Japan* Multiple answers

80 (%)

32.8
36.9

Cooperative planning by multiple regional cultural hubs

2019

60
66.9
65.0

20.7

Centralized information management
and sharing of cultural information

30.8
33.8
28.0

Product development using the power of culture and the arts,
state-of-the-art technology development capabilities of companies[Utekanpa Festival “Touch the AINU Culture”]
Ainu Radio exercise ©Agency for Cultural Affairs, Government of Japan40

Ability to share information and understandneeds through various PR media

70.1

42.5
43.9
35.1
35.5

20

Know-how for foreign visitors, such as multilingual
support for performances and exhibitions

49.2
52.8

Foster successors in the culture, as well as
human resources who support culture0100 (%)* Multiple answers
2019

2020

● With regional cultural resources such as art works, cultural assets, historic sites, and festivals, our efforts should
contain useful connections to future activities through collaboration across different genres such as TV programs(which was attempted this time), new presentation methods utilizing IT technology, etc. in collaboration withother departments, etc. and planning, implementation skills, management know-how, and so on.
● To broadly convey the appeal of Aomori City and expand inbound tourism, enhancing content by coordinating
tourism-related and cultural and arts-related businesses is effective—and this is why it’s important to achieve
outcomes such as the development of artistic qualities of Aomori Nebuta and interactions with other nations.

[Tohoku Kizuna Festival]
The Video Content “Tohoku Festivals and the Beauty of Culture and Tourism”©Tohoku Kizunamatsuri
Verification Report on Holding Japan Cultural Expo Summary 202025

Postponement or cancellation status of projects due to COVID-19

Financial losses caused by the impact of COVID-19

While some projects did decide to postpone or cancel due to the impact of COVID-19, looking at the breakdown,
in more than 60% of these cases, the project was only partially postponed or canceled. It is clear that many project
organizers continued to develop their projects despite various restrictions, working to maintain their cultural andartistic activities.

Overall, fewer than 30% of projects stated they had suffered losses, with the majority of projects stating they
couldn't say either way. Fewer than 20% of projects stated they had suffered no losses. Looking at various projecttypes, many respondents from “innovation-type” and “participatory-type” projects stated they had suffered losses.

0

0

10

20

30

40

50

60

70

80

51.4

90

100 (%)

47.2

1.4

10

20

30

28.5

50

60

70

17.8
Suffered losses

Postponed or cancelled (including partially postponed or cancelled)

40

No losses

80

90

100 (%)

52.3

1.4
Unanswered

Couldn’t say either (Neutral)On schedule (including scaled-down programs)
Unanswered

Breakdown of organizer responses indicating that projects were postponed or canceled
0

10

20

Partially canceled, otherwise implemented
within the same year (or scheduled to be)

30

Breakdown of losses of project organizers claiming to have suffered losses

40

50

(%)

37.3

Partially canceled, partially implemented within the same year
(or scheduled to be), otherwise postponed until the following year

Less than 1 million yen

15.5

8.2

10 million to less than 50 million yen

Totally postponed until the following year

7.3

50 million to less than 100 million yen

19.1

2020

18.0
14.8

● It was scheduled to be held last summer, with preparation such as content and management plan formulation
underway, but postponed for one year. In light of Japan’s extension of the state of emergency, the pre-event
scheduled for February was suddenly switched to advance release online.
● Since the event plans to use cultural assets as venues, the number of people able to participate will be greatly
reduced if COVID-19 measures are put in place. Also, the barriers for project implementation in the region arehigh due to the cautious attitude of local residents surrounding COVID-19, and it is necessary to allow for thiswhile constantly proposing multiple solutions.

21.3
8.2
23.0

100 million to less than 500 million yen
500 million yen or more

30 (%)

20

4.9

5 million to less than 10 million yen

Partially postponed until the following year, otherwise
implemented within the same year (or are scheduled to be)

Other

10

1 million to less than 5 million yen

12.7

Totally canceled

0

8.2

2020

● Decreased revenue due to admission restrictions. Increased labor required for measures such as disinfection.
● Due to postponement of the planned art exhibition for over a year, the cost of organizing increased from thestart, including increased labor costs. On the other hand, income was reduced due to admission restrictions,endangering the project’s profitability.
● Companies are becoming more cautious about sponsorship activities, and securing corporate sponsorship is
becoming more difficult. Also, since foreign visitors cannot visit Japan, ticket sales have fallen proportionally.
Both factors have caused cash flow difficulties.

26

Verification Report on Holding Japan Cultural Expo Summary 2020

Verification Report on Holding Japan Cultural Expo Summary 202027

Measures to prevent COVID-19 infection at project sites

Efforts implemented in response to the spread of COVID-19

Infection prevention measures were implemented by all projects. Looking at the breakdown, more than 80% of
projects put in place infectious disease prevention measures (body temperature measurement, mask wearing, guidancein venues, etc.) for people (visitors, performers, other related persons) and for places or equipment used (disinfection,
installation of partitions, etc.). In addition, 70% or more of projects went ahead with restrictions on events.

It is seen that many project organizers have strengthened information sharing in response to the COVID-19
pandemic. It is also evident that about half of the project organizers worked to produce and stream video content,
etc., thus continuing to provide opportunities for viewing and participation despite event restrictions.

0

20

40

60

80

100 (%)

Implement infection prevention measures for visitors(temperature measurement, mask wearing, etc.)

92.1

Thorough infection prevention measures for performers and related persons(temperature measurement, mask wearing, etc.)

87.6

Infection prevention for places and equipment used by visitors
Thorough implementation of measures (disinfection, installation of partitions, etc.)

84.2

Assign staff to prevent the 3 Cs (closed spaces, crowds, close contact)—for example, for guidance inside venues

83.6

Prevent infection of places and equipment used by performers and related persons
Thorough implementation of measures (disinfection, installation of partitions, etc.)

Avoiding contact via ticketless and cashless measures

33.9

Build a contact system with health centers and specialists

28.8

Implement PCR/antigen test for performers and related persons

22.0

Implement regional restrictions for visitors,
such as restrictions on visits from other prefectures
Implement PCR/antigen test for visitors
Other

1.1
6.8

47.2
42.1
32.7
27.6

Provide new viewing experiences using
VR technology, high-definition video, etc.

22.4

Archive projects with an eye on future use

20.1

Implement free online streaming ofworkshops, symposiums, etc.

19.2

Implement paid online streaming ofworkshops, symposiums, etc.

16.8
1.4

* Multiple answers
2020* Multiple answers
2020● Implemented with mask wearing, temperature measurement, and avoiding the 3 Cs (closed spaces, crowds,
close contact) as a matter of course. By changing the planned stamp rally to a sticker rally, we avoided multiple
people handling the same items—stickers and sticker bases were distributed as a set, and viewers affixed eachsticker when viewing the designated point. While working to prevent the spread of COVID-19, this delivered amemorable project that patrons could enjoy at the venue as well as take home memories.

28

50.0

Share video content, etc. related to projects

Implement paid online streaming of
performances, exhibitions, etc.

9.0

80 (%)

59.3

Advance reservation ticket sales (specified
date and time, etc.) via websites

45.2

60

Enhance sharing of project information
via social media, YouTube, etc.

Strengthen sharing of project informationby producing pamphlets, etc.

57.1

Recommend installation of COVID-19
contact confirmation app (COCOA), etc.

40

Implement free online streamingof performances, exhibitions, etc.

72.9

Record visitor contact details

20

Produce video content, etc. related to projects

80.2

Put in place numerical restrictions in line with restrictions on events(occupancy rates and maximum capacity)0● Holding events online enables participation by people from distant places in Japan, or overseas countries who
would usually have difficulty attending. In fact, the number of participants in some cases can even be increased
by removing constraints on participation caused by distance.
● Although not successful for actively attracting visitors, these efforts will be useful in the future, such as forremotely sharing exhibited works and communicating the appeal of the town and art works to people overseas.

● PCR testing of performers and staff / Diligent cleaning and disinfection / Formulating and implementing
lifestyle rules to prevent infection among performers and staff / Devising safe ways to use facilities for training
and performances / Rule-making for flow lines used.

● From next year, when travel to and from overseas recovers, efforts will include online advertisements placed on
global sites such as TripAdvisor for potential customers in specific countries that are interested in Japan, in orderto drive motivation to visit Japan.

● 3 C countermeasures—restricted admission using time slots and thorough ventilation of venues. Divide
admissions into time slots, and restrict the number of people in venues. If there is risk of congestion, thoroughlymanage guidance. Regularly open windows and doors inside the venue that can be opened, and thoroughly
ventilate using air blowers. Thoroughly ensure proper distancing in waiting queues.

● Given the COVID-19 situation, the number of foreign visitors to Japan was small, but a commentary app
and video streaming were provided in multiple languages. An exchange of opinions was held with overseas
correspondents in Kanazawa City, which produced useful advice on good aspects and points needing
improvement.

● Restricted admission, depending on the number of people in the venue. In venues, more space than usual was
created between exhibits and cases, and guidelines were created using stickers etc. near exhibits and cases toprovide guidelines for visitors for maintaining social distancing. Staff numbers both inside and outside venues
were increased, with visitors called in and guided to less crowded spaces as appropriate. Requests for mask
wearing for visitors, refraining from conversation, temperature measurement, alcohol disinfection, and anti-viralmeasures for handrails and voice guide machines were also thoroughly implemented.

● Due to the impact of COVID-19, a virtual cultural experience program was suddenly created. An emphasis
was placed on constructing an appealing virtual culture experience program by combining it not only withcommentary in foreign languages, but also with practical training delivered via videos enabling virtual sightseeing
around various areas in the prefecture.

Verification Report on Holding Japan Cultural Expo Summary 2020

Verification Report on Holding Japan Cultural Expo Summary 202029

Promotion
Efforts required due to the impact of COVID-19

Social media

Around 60% of respondents replied that “Support for preventing infectious disease” and “Support for losses
caused by postponement, cancellation or scaling-back of projects” were required. This shows that financial burdens
arising from COVID-19 are a concern for many project organizers.

Official social media platforms for the Japan Cultural Expo

0

20

40

60

80 (%)

Support for preventing infectious diseases

60.7

Support for losses caused by postponement,cancellation or scaling-back of projects

60.3

PR support linked to sharing information about implemented
projects and PR for cultural and the arts activities

The official Twitter and Facebook platforms for the Japan Cultural Expo have now been launched to communicate
details on the individual events and their preparation.
Official Twitter account

Account name: Japan Cultural Expo｜日本博
User ID: @JPNCulturalExpo
URL: https://twitter.com/JPNCulturalExpo

31.8

Implementation of financial support
for cultural and arts-related workers

Official Facebook account

Account name: Japan Cultural Expo｜日本博

29.0

Providing information on infectious disease countermeasuresand response cases in other local governments and other events

User ID: @JapanCulturalExpo

25.7

Implementation and expansion of event support
measures such as the Go To campaign

URL: https://www.facebook.com/JapanCulturalExpo/

19.2

Professional consultation service for measuresagainst new coronavirus infections

Official Instagram account

6.1

Providing training courses and online courses on
measures against COVID-19

2.8

Building a network organization with other organizations
regarding measures against COVID-19

2.3

Establishment of a consultation desk for financial difficulties
associated with the spread of COVID-19

1.9

Implementation of physical and mental health support
for cultural and arts-related workers

0.9

Account name: Japan Cultural Expo｜日本博

Please scan the QR codes.

User ID: japanculturalexpo
URL: https://www.instagram.com/japanculturalexpo/?hl=ja* Multiple answers
2020● If the audience capacity is locked at 50%, and performance costs are unchanged or even increased, considering theneed for more staff to carry out infection control, then admission revenues will be halved, making it quite difficult
to keep the performance afloat. In addition, for those engaged in the performing arts (performers and staff), thenumber of performing arts jobs is decreasing, which poses a risk to retaining and training successors in the arts.

Official website and Digital Gallery
Footage and VR videos of various projects can also be found at the link below for everyone to experience theappeal of the Japan Cultural Expo online.
Special exhibition –Kimono: Fashioning Identities

Fireworks for All

National Parks of Japan Stories to Experience

This video of a gallery talk by thechair of the Tokyo National Museum’s
Department of Decorative Arts,
Dr. Oyama, gives an in-depth lookat selected works, joined by theJapanese celebrity and kimono
aficionado IKKO.

People with disabilities, well-known
flower arrangement specialists, andrenowned fireworks professionals
collaborate in designing fireworks.
These are presented at five locations
throughout Japan to promote thetheme of “Unity in Diversity.”

There are 34 national parks in Japan,
with landscapes, environment, andheritage of culture representing
Japanese nature. This exhibition
will present the stories of Japan’s
diverse range of nature.

● Even when events are planned, they may be canceled depending on circumstances, and it is difficult to respond to this.
● Since it is difficult to predict audience numbers or to forecast revenue from cultural and artistic activities, projects
are being implemented under circumstances that involve huge financial risks.
● Inability to attract visitors from outside the prefecture to local art galleries and falling consumption across entire
regions have seen a decline in visitor numbers. The national and local governments should take the initiative inproviding subsidies and PR support for cultural projects involving significant expenses.
● Since it became completely impossible to attract customers from overseas, the project implementation plan and
expenses have changed significantly. Due to the fact that we had to change the plan in a short period of time,
we worked on the first method without know-how, and there was a shortage of human resources to collaborate
with overseas, we quickly formed a team, but, as a whole, the shortage of specialized human resource, and young
human resources who can handle web production and IT-related issues has become an issue.

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Verification Report on Holding Japan Cultural Expo Summary 2020

Further contents provided at the link below.
https://japanculturalexpo.bunka.go.jp/gallery/

Verification Report on Holding Japan Cultural Expo Summary 202031NHK WORLD-JAPANThe Japan Cultural Expo’s Special TV program “The Japanese and Nature Message of the Japan Cultural Expo”
is aired in 160 countries on NHK WORLD-JAPAN and Japan International Broadcasting.

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❸

The program will showcase Japanese people’s views on nature, as reflected in the country’s architecture, performing
arts, traditional crafts, gardening, tea ceremony, and traditional flower arrangement, with interviews on how people
in Japan approach nature. By exploring the idea of coexisting with nature, which has been reappraised during thedifficult circumstances of COVID-19 around the world, the program will seek to support Japan’s recovery of
inbound tourism in the future.

Japan Cultural Expo’s special TV program• Title: “The Japanese and Nature – Message of the Japan Cultural Expo”• Stations: NHK WORLD-JAPAN / Japan International Broadcasting (English only)• Cast: Kikunosuke Onoe (Official Supporter of the Japan Cultural Expo / Kabuki performer),
Kengo Kuma (architect), Kazumi Murose (craft artist),
Shosuke Tanihara (Official Supporter of the Japan Cultural Expo), etc.

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❺

❻

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❽

URL: https://www.jibtv.com/programs/the_japanese_and_nature/❿❾

Share with around 300 million households inabout 160 countries and regions around the world
From the questionnaire results
 The program obtained an average of 4.4 points out of 5 points as an overall evaluation.
From the free description of the questionnaire, we can read that the program conveys the theme of the Japan
Cultural Expo and it can be a promotion to attract more visitors to Japan.

 Comments from the questionnaire• The Japan Cultural program interests me a lot.
• I’d like to see performances in Japan.
• I found out that Japan has a remarkable relationship between art and nature.
• Interviews with various artists were exciting, valuable and meaningful.
• It made me feel strongly that I’d like to visit the exhibition someday.
• Images, music, and narration all function seamlessly, orbiting around culture,art, nature and the seasons creating an uplifting journey.

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Verification Report on Holding Japan Cultural Expo Summary 2020⓭
❶Collection of Flame-style pottery (National treasure) Sasayama site (Photographed by Tadahiro
Ogawa) ❷Discover BUNRAKU ©Japan Arts Council ❸Joint-project with the National Parks of Japan:
Stories to Experience Towada-Hachimantai National Park ©Japan International Broadcasting Inc.
Ministry of the Environment Government of Japan ❹Fashion Culture Creation Project (in Association
with Ministry of Economy, Trade and Industry) - me 2021-22 A/W COLLECTION ©The Japan Fashion
Week Organization ❺Fireworks for everyone ©Japan HANABI Association ❻Art As It Is: Expression
from the Obscure - Sawada Shinichi "Untitled" ©Tokyo University of the Arts ❼Nature in Japan and
the Spirit of “Sho” – 200 Selected Works by Japanese Calligraphers –, Ishige Keido "Japanese Spirit"©The Executive Committee of the Tokyo 2020 Olympic and Paralympic Commemorative Calligraphy
Exhibition ❽MANGA⇔TOKYO Illustration by Yoshinari Yoh ©Crypton Future Media, INC. www.
piapro.net ©khara ©Naoko Takeuchi ©Naoko Takeuchi / PNP, Toei Animation ©Osamu Akimoto,
Atelier Beedama / SHUEISHA ©SOTSU, SUNRISE TM & ©TOHO CO., LTD. ©TOKYO TOWER ❾Deformed
school uniform｜1980s｜Kojima School Uniform Museum ❿Style Book Kimono no Ehon｜Junichi
NAKAHARA｜1940｜HIMAWARIYA ©JUNICHI NAKAHARA/HIMAWARIYA ⓫Collaboration Bento
Isehara City×Sta. NOBODY KNOWS ©GEIDANKYO ⓬RYUUGUU - The Turtle Princess (Photo by
SHIKAMA Takashi) ©New National Theatre, Tokyo ⓭The Treasures of Mitsubishi Collection: The
Mitsubishi 150th Anniversary Exhibition / National Treasure, Tea bowl “Yohen Tenmoku”, Known as
Inaba Tenmoku, Southern Song dynasty, 12th-13th century, The Seikado Foundation ©The Seikado
Foundation ⓮Special Exhibition “KIGUMI: Revealing the Carpentry Behind the Wood Joint” / Kumiko©Takenaka Carpentry Tools Museum ⓯Meiji Jingu Forest Festival of Art: Celebrate. Pray. Create. –Sustainable Nature and Arts & Culture – Kohei Nawa “White Deer (Meiji Jingu)” 2020 Paint on bronze
Photo: Keizo Kioku ©MeijiJinguForest Festival of Art

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Verification Report on Holding
Japan Cultural Expo
Summary 2020
March 31, 2021
Publisher:
Japan Cultural Expo Secretariat
Japan Arts Council
4-1 Hayabusa-cho, Chiyoda-ku, Tokyo
102-8656
TEL: 81-3-3265-7411