"Music for the Disaster Areas" Symposium Report Released
FY29 Strategic Arts and Culture Creation Promotion Project
Japan Philharmonic Orchestra "Music for Disaster-stricken Areas" Research Report & Symposium
An Orchestra Living with the Community: What has been learned from seven years of activities in disaster-stricken areas
The Orchestra, a new voice in the community
March 1, 2018 Yu Hachimura
As we approach the seventh anniversary of the Great East Japan Earthquake, this question has been raised once again: "What can art and music do?" - What can art, which does not simply satisfy the necessities of life, food, clothing, and shelter, do in the face of the inescapable forces of nature and human suffering? The Japan Philharmonic Orchestra invited researchers, local stakeholders, and art experts to begin by looking back on the history of their activities. The symposium was held on Sunday, February 25, 2018, at the Joshibi University of Art and Design 110th Anniversary Hall (Koenji), with over 80 participants.
The Japan Philharmonic Orchestra had scheduled a regular concert under the baton of its principal conductor, Lazarev, on the day and day after the Great East Japan Earthquake. It was an extremely difficult decision, but after careful consideration of whether it could maintain the safety of the venue and those involved, as well as the quality of the performance, the orchestra concluded that music's special power should be conveyed as much as possible, especially in times of emergency, and so it went ahead with the two-day concert. The concert in Hong Kong, scheduled for a week later, was also carried out with a sense of mission: to convey the message that "Japan will recover." The "Music for the Disaster Areas" initiative was launched to convey the desire of the orchestra members, who experienced the disaster, to "do something for the victims," and the condolences and warm encouragement of the Japanese and Hong Kong audiences for the victims, through music.
The Japan Philharmonic Orchestra's first relief effort, on April 6, 2011, was to deliver music and batteries to Nihonmatsu City, Fukushima Prefecture. The batteries were donated during a concert in Hong Kong with the message, "Please deliver them to Tohoku." Speaking about how the orchestra's activities were funded by these supplies, donations collected at venues, and contributions from the public, Chairman Hirai Toshikuni explained, "With the cooperation of local coordinators and musicians, we have shaped the trust of the people." He noted that the Japan Philharmonic Orchestra is an organization that has survived through times of financial difficulty thanks to the help of people across the country, and that the ability to sense the warmth of others and "understand the folds of the heart" is deeply ingrained in its DNA.
This is not the first time that the Japan Philharmonic Orchestra has acted for people affected by disasters. Their experience performing at evacuation shelters following the Great Hanshin-Awaji Earthquake in 1995 led them to use music to provide relief immediately after the Great East Japan Earthquake. However, questions have always dogged their journey. In the early days of their activities, people wondered, "Why music?" and "Why an organization from Tokyo?", and as the years passed, they wondered, "Are they still doing this?" and even the orchestra itself wondered, "Is it okay to keep doing the same thing forever?" These questions have become especially critical now, as the challenges facing local communities become more diverse as reconstruction progresses.
In a research report by Mitsubishi UFJ Research & Consulting's Nakamura Yoshiaki, he explained the results of a qualitative survey conducted through questionnaires targeting local coordinators, musicians, and administrative staff. While he praised the "Music for Disaster Areas" project for its contribution to "emotional healing and recovery" for the residents of the disaster-stricken areas immediately after the earthquake, he pointed out that the needs of the residents have changed over time and in the future. While praising the orchestra for accurately grasping these changing needs, he also pointed out that the disaster-stricken areas expect the project to continue, and that they also want things like "creating opportunities for interaction between residents" and "publicizing the current situation in the disaster-stricken areas."
Kazuyo Abe, a teacher at Minamisoma City's Haramachi Daiichi Junior High School, spoke about her school's relationship with the Japan Philharmonic Orchestra. While her school has a long tradition of brass bands, "the disaster took away so much from us." She recalled how teachers worked together to lay sheets and transport panels to a nearby elementary school gymnasium to create temporary classrooms. When classes resumed on April 23, students immediately and earnestly asked, "When can we resume club activities?" Despite transporting percussion instruments from the main school building in a pickup truck and being unable to practice regularly, she won the Grand Prize and the Minister of Education, Culture, Sports, Science and Technology Award at the Wind Ensemble Contest (November 2011). However, as time passed after the disaster, students she had nurtured transferred schools one after another, making it difficult to maintain her standards. She recalled feeling at a loss when the Japan Philharmonic Orchestra approached her about a visit. "I was happy, but also scared (about the harsh words they might say)." However, she said, "Thanks to their wonderful performances and friendly personalities, we quickly became friends, and before long, we were able to connect with them like 'the uncles in the neighborhood.'" He also noted that around 2015, the students' behavior began to change. "This generation, who were still young at the time of the earthquake, spent a long time growing up protected by the adults around them, and were passive about everything," he said. Sharing this concern with a representative from the Japan Philharmonic led to the implementation of music workshops by Communications Director Michael Spencer. Seeing the students' creativity and initiative in their work, he said, "I was surprised to see that they were capable of more than their instructors and even the students themselves thought." He spoke of the ongoing heart-to-heart exchange with the Japan Philharmonic, and in his speech, he said, "But despite the hardships we faced, we still wanted to play music," which drew a long and enthusiastic applause from the audience.
Next, Professor Yamazaki Minori of Joshibi University of Art and Design shared her experience in disaster relief through art. Citing research that suggests that in conflict zones and disasters, not only traumatic treatment but also mental care as "psychological first aid" is necessary, she pointed out that art functions as a medium for this. She introduced various examples of work done after the Great East Japan Earthquake and noted that collaboration with the Japan Philharmonic Orchestra in the area has become closer. She said that in recent years, collaboration has deepened from simply installing paintings at concert venues to holding craft workshops that are then used in music workshops. She reiterated the role that art can play in rebuilding families and local communities that have been destroyed by devastating damage.
Following a break, Communications Director Michael Spencer conducted a workshop and presentation. Rather than classroom lectures, the workshop utilized an active learning approach, encouraging participants to learn through physical activity. The workshop featured topics such as Steve Reich's "Clapping Music" and Stravinsky's "The Rite of Spring." He explained that his methodology is supported by educational theory and based on social constructivism (the idea that people learn better in groups). He also pointed out that the workshop involved participants experiencing a process of observation and decision-making on the fly, and that music can be a tool for building relationships with others (music as social technology), explaining the value of music in society. A facilitation team of members of the Japan Philharmonic Orchestra also participated in the presentation. Violinist Shunichiro Sato and trombonist Mutsumi Inami led the workshop, and cellist Tetsuya Osawa and violist Yumiko Nakagawa also gave short speeches. The "possibility of spontaneous learning that is not one-way" was pointed out, and experiences such as "After the workshop experience, when I returned to the orchestra, the sound sounded completely different" and "My approach to music and people changed" were shared.
The panel discussion focused on "The Future of Orchestras and Communities." Contemporary artist Tatsuo Miyajima began by introducing his efforts to connect residents of disaster-stricken areas with Tokyo through works such as "Sea of Time—Tohoku" (Reborn Art Festival, 2017). Naoyo Togashi (Japan Philharmonic Orchestra, Music Forest Advisor) noted that the Japan Philharmonic Orchestra's disaster relief activities began with its experience of the Great Hanshin Earthquake. She then explained that the "Music for Disaster Areas" project enabled long-term exchanges and immediate response to diverse local needs by building direct relationships through local coordinators. Michael Spencer pointed out the preconceived notion of music as "entertainment." He stated, "Orchestras can play a role in connecting people," and called for a renewed view of music as something that can have a profound impact on society.
Miyajima also pointed out that the number of suicides increased seven to eight years after the Great Hanshin Earthquake (rather than immediately after the disaster), and said, "This is the critical moment, and both music and the arts can play a role." Spencer emphasized the importance of those involved in the arts turning their attention to the wider society and becoming "ambassadors." He said it is necessary to reconsider the value they hold and make an effort to explain it in the words of people who are not art experts.
In closing the symposium, Japan Philharmonic President Hirai touched on the orchestra's "three pillars" (performance, education, and community activities), confirming that the "Music for Disaster Areas" project is a major part of these. "Although I sometimes lose confidence, I continue to work on what I have received from the local community, while also thinking about it. I will continue to be close to the people through music," he said. He stated that he hopes to further develop the Japan Philharmonic's workshop activities and chamber music, focusing on points raised during the symposium, such as "the need for programs that the general public can be involved in" and "creating connections with local traditional performing arts." He concluded by looking ahead to the role that the orchestra can play as an inclusive entity for all generations, regions, and people.
There are many musical organizations around the world, in Japan, and in Tokyo. Looking at the arts and culture as a whole, what is the meaning of orchestras' continued existence in today's world, where economic security is anything but secure? Kazuki Beppu, acting director of the Japan Philharmonic Orchestra's Music Forest, says, "Our desire to encourage people through music will remain unchanged. However, our goal going forward is not just to support individuals, but to use the unique involvement of a music organization to inspire communities in Tohoku, which are facing various challenges." The Japan Philharmonic Orchestra is now seeking to broaden its disaster relief experience gained through the Great Hanshin-Awaji Earthquake and the Great East Japan Earthquake to a broader perspective of "community." Issues such as declining birthrates and aging populations, poverty, and coexistence with people facing various challenges are being seriously discussed not only in Japan but around the world. As the orchestra constantly questions itself, we would like to pay close attention to the possibilities it explores and how it realizes these solutions.
