"Music for the Disaster-stricken Areas" Tohoku Dream Project 2019 Symposium Report Released

2019 Agency for Cultural Affairs Strategic Arts and Culture Creation Promotion Project
Japan Philharmonic Orchestra "Music for the Disaster-stricken Areas"
"Reconstruction Support Project for Tohoku Region through Music"
Reports from the Symposium and Presentations

Reporter: Madoka Yagi

　Since June 2011, the Japan Philharmonic Orchestra has been conducting a program called "Music for Disaster Areas," in which orchestra members travel to disaster-stricken areas in Tohoku to deliver music. In response to requests from participants over the past few years, such as "I want to see what the disaster-stricken areas are like," "I want to experience more art," and "I want the situation to be reported," the "Tohoku Dream Project" was launched in 2019. This project aims to create a platform to showcase the achievements and smiles of children in the Tohoku region who are engaged in music and traditional performing arts, and to revitalize the local community through regional exchange and the dissemination of new culture. As one culmination of the Japan Philharmonic's nine-year-long support for the reconstruction of disaster-stricken areas in Tohoku, the orchestra held the "Tohoku Dream Project 2019: Fun Orchestra in Iwate." This report covers the project report and symposium held in February 2020.

Japan Philharmonic Orchestra "Music for the Disaster Areas" and "Reconstruction Support Project for Tohoku Region through Music" Report Session & Symposium Sunday, February 22, 2020, 2:14 PM Keio University Mita Campus G-Lab Nine years have passed since the Great East Japan Earthquake, and the coastal areas of the three heavily damaged Tohoku prefectures are now showing different aspects. Through our activities to date, we believe that the recovery and revitalization of communities through cultural and artistic activities is key to the future of this region. Starting in 2019, the symposium will run for three years, taking into account the situation in each of the three Tohoku prefectures, and will consider the impact of cultural and artistic activities on communities, as well as the ideal form of collaboration between arts organizations and local communities. This was the first of these events, and based on a report and review of the "Tohoku Dream Project" held with children in Morioka City, Iwate Prefecture, participants spoke with dreams about the type of cultural and artistic activities they hope will be seen in Iwate Prefecture in the future. Speakers/panelist: Yuhei Sakata (Assistant Director of Miyako Civic Cultural Center, Producer) Masaharu Sato (Advisor of the Iwate Prefectural Miyako High School Wind Orchestra) Kawamura Koji (Managing Director and Editor-in-Chief of Iwate Nippo Newspaper Co., Ltd.) Semba Hisao (Visiting Professor at Iwate University) Masatoshi Tamamura (Professor at the Faculty of Policy Management, Keio University, Director of the SFC Research Institute) Chika Ochiai (Researcher, Graduate School of Media and Governance, Keio University) Kazuki Beppu (Deputy Secretary General of the Japan Philharmonic Orchestra and Director of Music Forest) Hiroka Oikawa (Japan Philharmonic Orchestra) Organizers: Agency for Cultural Affairs/Japan Philharmonic Orchestra Co-hosted by Keio University SFC Research Institute (Social Innovation Lab)

FY2019 "Music for Disaster-stricken Areas" Implementation Report

　First, the Japan Philharmonic Orchestra reported on the Tohoku Dream Project, which was first held in Morioka in August 2019, and the ongoing efforts the ensemble has been carrying out in the coastal areas of Iwate, Miyagi, and Fukushima since 2011.

■From the participating groups - The children's faces changed - The significance of experiencing professional music
　Next, Masaharu Sato, advisor of the Miyako High School brass band, which performed at the Tohoku Dream Project in Iwate, spoke about the students who participated.

When the members were first approached about performing, they were very worried, wondering if they could handle it and whether they could balance it with practicing for the competition, but after receiving direct instruction from the orchestra members the day before, the students' performances changed dramatically, and they gave a free and wonderful performance on the day of the concert. After the concert, the students expressed their excitement, saying things like, "I want to do something together," "I want to perform together again," and "I want to hear more live performances," as well as positive comments about the changes they had seen, such as, "I'm glad my family has become interested in music."

The Tohoku Dream Project not only created moving memories for the students, but also provided great inspiration for their future cultural activities.

■Research Report — Stimulating people's desire for music
　Ms. Chika Ochiai of Keio University's SFC Research Institute gave us a report on her research on the Tohoku Dream Project.

　The survey revealed that the roles the Japan Philharmonic Orchestra played were "creating connections between people," "becoming collaborators with local people," and "disseminating information about the current situation and culture of the disaster-stricken areas." Furthermore, the direction for the future is to connect the relationships forged on the "bright stage" to the everyday lives of the local community. The analysis suggested that rather than a one-off, unilateral event, the orchestra should be more conscious of "creating a stage together with the local people," making it an ongoing project, with an emphasis on communication and relationship building.

■Guest Presentation — A community play that reweaves relationships within the community
　As a guest speaker, Yuhei Sakata (Assistant Director of Miyako Civic Cultural Center, Producer) spoke on the theme of "Miyako City's Community Theater and the State of Cultural Facilities After the Earthquake."

　Miyako City was home to the Miyako Civic Cultural Hall, which was built 40 years ago, but was damaged in the Great East Japan Earthquake and restored in 2014. The disaster and subsequent rebuilding of the facility provided an opportunity to reconsider "what cultural facilities are for" and "what role culture and the arts play," and in 2018 the "Miyako Civic Theatre" project was launched, aiming to create "a community theatre as a place where people can gather and reconnect." The theatre company is made up of around 200 citizens, and not only the performers but also the script, direction and management are all created by the citizens themselves, and the inspiring quality of the theatre's performances is said to be increasing its influence in Miyako City with each passing year.

　Sakata said that his ultimate goal is for culture and the arts to remain even after the cultural center is gone, and I realized how significant culture and the arts created by local residents themselves are in rebuilding a community that has been destroyed by something like an earthquake.

■Discussion - Cultural space as a shared resource
　The discussion was held under the theme of "Revitalizing and Revitalizing Communities through a 'Grand Stage' for Culture and the Arts." The panelists were Yuhei Sakata (Assistant Director of Miyako Civic Cultural Center and Producer), Koji Kawamura (Executive Director and Editor-in-Chief of the Iwate Nippo Newspaper), Hisao Semba (Visiting Professor at Iwate University), and Masatoshi Tamamura (Professor at the Faculty of Policy Management, Keio University, and Director of the SFC Research Institute), and the moderator was Kazuki Beppu (Japan Philharmonic Orchestra).

-Bringing out the potential of citizens and the region's traditional culture
　The example of the Miyako Citizens' Theatre introduced by Mr. Sakata gave us a renewed sense of the power that culture has on local communities.
　Sakata, on the other hand, says that the most difficult part was the process of launching the community theater. Although many people thought, "It has nothing to do with me," he carefully involved the citizens and patiently built consensus on each point. Naturally, there were times when opinions clashed between participants, but he says he persevered in the dialogue.
　As a result, the first performance was a wonderful occasion that moved the hearts of both performers and audience, and the citizen theater will continue to spread. Sakata points out that it is important to treat it as a "continuous project" rather than a "one-off event," and that citizens work together to move forward with the project, from the design of the theater troupe system and process. Furthermore, by gathering various people in the same place, new collaborations and exchanges naturally emerge. This provided an opportunity for everyone to think again about "what is reconstruction?" and "what are human connections?"
　Meanwhile, what the Tohoku Dream Project and Miyako Citizens' Theatre have in common is that they both incorporate local culture onto the stage. The cultural foundations of Iwate Prefecture that make this possible are also intriguing. Sakata says he is amazed at the artistic talent of the people of Iwate Prefecture. Although Iwate Prefecture is not an environment that makes it difficult for professional artists to develop, he says that the people there are full of people with a wide range of talents, as if "every citizen is an artist."
　Kawamura also points out that the unique historical perspective of the Tohoku region may have had an influence. Looking at things like village kabuki, it seems that art has long served as a place for local residents to come together.
　There were many comments that if a place with such a unique cultural foundation were to bring the different culture of an orchestra and people from a different place like Tokyo to the event, and if the ``place'' were carefully created like a ``stage for a special occasion,'' a chemical reaction between the cultures could occur.

What to show the children
　Semba points out the importance of continuing to involve children in this project.
　Immediately after the earthquake, many students from the Tokyo metropolitan area flocked to the coastal areas, but surprisingly, there were not many young people living inland within the prefecture. However, since there are no universities in the coastal areas, children have never even seen a university student, and due to the population outflow after the earthquake, there are few "older brothers and sisters" in town on a daily basis. In other words, children in coastal areas have few role models to look up to. This is why it is important to continue to see the Japan Philharmonic Orchestra's activities as something that is not "an activity given to people from Tokyo," but "an activity that we are doing together with them." Furthermore, adults are also proactive in creating opportunities for children to smile. Therefore, he said, it is essential to continue to be a project that children can voluntarily get involved in.

① Kazuki Beppu (Japan Philharmonic Orchestra) and Hisao Semba (Visiting Professor at Iwate University)
②August 11, 2019 Miyako High School Brass Band
③August 11, 2019, Ofunato Kita Elementary School Folk Performing Arts Club Akazawa Yoroi Kenbu Dance

— Encouraging people to take action both inside and outside of Tohoku
　Several speakers pointed out that the key to success is how to encourage people who learn about the activities to take further action. The Tohoku Dream Project received support from local companies such as the Iwate Nippo newspaper and Iwate Bank, and pre-publicity was also carried out multiple times through local media. Furthermore, the first event showed that participants were extremely satisfied with the content, so it will likely be possible to continue to increase the number of new participants by reaching out to individuals. If that's the case, the next step will be to create a system that allows citizens to voluntarily and deeply commit, like the Miyako Citizens' Theatre.
　In that case, the Japan Philharmonic believes that "creating a space together" is important on the "big stage," and that the host-guest relationship may not be necessary. Tamamura also emphasizes that because culture remains something that someone continues to update, projects also need a system in which all citizens can participate voluntarily. At that time, citizens need to have an internal motivation that makes them excited, and maintain their individuality.
　However, as Sakata points out, for a regional city with few opportunities to come into contact with a professional orchestra, the presence of a leader or role model is invaluable. The idea is to maintain a sense of distance between professionals and local residents, while walking through the process together.

④September 29, 2018 Workshop at Sakiyama Shell Mound Jomon Forest Museum, Miyako City, Iwate Prefecture ⒸTatehira
⑤August 10, 2019: Guidance for the Miyako High School Brass Band

- Creating a sustainable system and spreading the word to increase the number of people involved
　While maintaining the motivation of individuals and groups is essential, it's also crucial for the development of a project to foster new connections and connections, rather than simply dancing alone. It won't get anywhere unless people know, "This fun thing is happening here," and "There are people with these thoughts." Kawamura stated that when recovering from the depths of grief like a disaster, a "supporting population" is necessary, and that the media's role is to increase that number. Effective PR both within and outside the affected areas to encourage support is also crucial for projects. As Kawamura asserts, in today's Japan, where cities outside of Tokyo are experiencing population decline, projects in Tohoku also shed light on the future of other regions. Disasters occur frequently across the country, and everyone faces the risk of sudden changes to their communities and lives. In that sense, there are ample factors that will pique people's interest in this project, as something they may experience in the future.
　Furthermore, local areas lack the necessary research and public relations professionals, as well as the methods, know-how, opportunities, and funds to communicate information, all of which are necessary for ongoing projects. Sakata argues that cultural facilities can be a tool for attracting artists and professionals from various fields. In the future, he hopes to deepen collaboration with various cultural facilities.

—Broaden your perspective and connect dots to surfaces
　A visitor asked, "How did you build relationships with facilities and organizations in each region?" The project manager responded that in the Japan Philharmonic's activities up until now, visits have focused on disaster-stricken areas, so there have been surprisingly few connections with public facilities and schools. He also said that the approach varies greatly depending on the type of people present at the facility or local government, so ultimately, it is the encounters with people that have allowed the project to continue. Sakata also said that if communication costs can be resolved, the project can move forward. On the other hand, even if there are excellent people, there are many cases where it cannot be realized due to organizational structure, so it seems necessary to be more conscious of involving the organization as a whole, while building careful relationships with each individual as a foundation.
　With the shrinking of human resources in rural areas undoubtedly inevitable, people have no choice but to help each other. All the speakers agreed that it is necessary to broaden our perspective beyond just focusing on "who is in our town." As the disparity in attitudes toward the disaster between the coastal and inland areas of Tohoku continues to widen, the importance of lightening our hearts and connecting with each other was recognized.

■Continuing with the orchestra, "being close to people"
　At the end of the symposium, Japan Philharmonic Orchestra Chairman Hirai Toshikuni gave a speech.
　This project is being carried out as a support project commissioned by the Agency for Cultural Affairs, but as time has passed since the disaster, the situation in the affected areas has become more complicated, and the band members have been constantly struggling to continue the project. However, despite their busy schedules, the participating band members all say, "We're glad we were able to perform in Tohoku." This is because, conversely, they gain a lot from the people living in extremely difficult circumstances listening to their music.
The hearts of people in the disaster-stricken areas have also changed, and over the past few years, voices such as "I want to interact more with people from outside," "I want to be more exposed to arts and culture," and "I want more to be spread," have become more noticeable.The Japan Philharmonic Orchestra has moved from the phase of seeking healing to the second stage of its approach, in which it seeks to understand the more active needs of citizens.
　Meanwhile, during our European tour last year, we used panels to introduce the state of reconstruction in Tohoku and our activities with children in the disaster-stricken areas, something that only an orchestra can do. We believe that communicating with the world in this way is important, and we also need the continued cooperation of local media in Tohoku.
　In the future, this project will move beyond connecting people to deepen its activities on the surface of regions. The Tohoku Dream Project was conceived as a way to consider how music can be useful to local communities and to create a platform for bringing out the best in school cultural activities (events, club activities, choral festivals, etc.) and traditional performing arts.
Chairman Hirai states that the orchestra is merely the content, and its role is to create a venue. In the future, he envisions, for example, forming a local executive committee and having the Japan Philharmonic Orchestra work together to create a stage on-site.
　With these goals in mind, Chairman Hirai concluded by saying that the Japan Philharmonic wants to continue to be an orchestra that has always been "close to people," while also looking to the world.

⑦⑧ⒸHiradatehira

■In conclusion
　Nine years have passed since the Great East Japan Earthquake, and the landscape of the disaster-stricken areas is becoming more complex. We hear about the increasing number of elderly people dying alone in reconstruction housing, and the impact on children's development. While it's impossible to pinpoint the cause, it seems like the key to emotional recovery lies in whether or not people have found a place to meet others and talk with them in peace. This is because people can learn about themselves and grow through encounters with others. Furthermore, the Tohoku region has a long history of civic activities and festivals, and a culture that has quietly developed through relaxed interactions with others. Therefore, the loss of these activities likely has a profound impact on people's hearts.
　I felt that the value of an orchestra cannot be fully realized by simply providing high-quality music and putting audiences in a good mood. It seems natural that people gather in places where they can hear beautiful music, and when people gather, they connect with others. Connecting with others stimulates desires hidden in individuals' hearts, leading to new actions. A little ingenuity can change the way we perceive a "place" and how people gather. For example, if the Japan Philharmonic Orchestra and people living in the Kanto region were to travel and interact with local people and promote the region on social media, they could simultaneously communicate the current situation in the region and this project, creating new connections. I hope that the Japan Philharmonic Orchestra's experience will be utilized to advance projects that not only provide support but also further revitalize local culture.

Photo by Atsushi Yamaguchi
August 11, 2019 Tohoku Dream Project / February 22, 2020 Symposium

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The Japan Philharmonic Orchestra's "Music for Disaster Areas" is being carried out with the cooperation of Mitsubishi UFJ NICOS Co., Ltd.