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Translating Disaster: artistic explorations of

an event which have substantial extent




PER320 DISSERTATION
Akitsu Yamagishi

BA Hons Theatre
Falmouth University
2014



I would like to thank Joanne Bob Whalley for her supervision throughout this module,
Nathaniel Mason and Jacob Woods for their supportive feedback and Yu-Po Chen for
feeding me for the past two weeks.









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Contents

P. 3 Introduction

P. 5 Chapter One: The disaster and the responses

P. 14 Chapter Two: The artist and the audiences

P. 21 Conclusion

P. 23 Bibliography














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Introduction
This essay will look into artworks based in Japan, which responds to the Fukushima Daiichi nuclear
disaster on 11th March, 2011.
In this research I will utilize personal discourse as a way of exploring the theme of the disaster and its
responses. This research is personal and important for me as a Japanese person, but more
importantly, for my Practice in Context; a project which saw the disaster as something which could
not be disregarded. I carried out the 63 day project at home in Oiso, Japan, which is 180 miles from
Fukushima prefecture.
Through the method of Practice as Research, I made micro pieces which directly or indirectly had
connections to the disaster. Practice as Research involves a research project in which practice is
a key method of inquiry (Nelson, 2013:8). My inquiry revolved around the small changes in our
day-to-day after the disaster, such as performing the act of decontaminating a stone as a creative
response.
One of my questions was how can I communicate the disaster to my peers in England in a way
which does not exclude them? This essay is a part of the ongoing exploration and development of
this question, and the process is bound to continue for as long as the radioactive substances are
present in my day-to-day life.
In dramatic theatre, it is often said that it is important for the audience to be able to relate to the
work or to a certain character. Should works related to the disaster aim to make the audience feel
they can relate to the work, the event and the experience of the artist, when it was, and is, a
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disaster? I will analyse the different approaches of the responses and if relating is an essential
element for these pieces of work to be received by the audience.
Another aspect of using the personal discourse is to find out how this conversational way of
writing works as opposed to the more conventional academic language in terms of being able to
relate to the disaster.
For the purpose of this essay I have divided the audiences into two groups. One is the people
who see themselves as part of the disaster; as a victim or those who feel they are responsible of
instigating the event in some form or another. The other is what I will refer to as an outsider, for
those who do not see themselves as related to the event. The two groups cannot be divided with
race or locations because it is a way of thinking, although majority of the former are from Japan and
latter the rest of the world.
A part of this thinking goes in line with Interculturalism in performance, which is a theoretical
framing discussed between theatre practitioners around the world. It takes an interest in the process
of translation between different cultures, which suggests that more dominating, authentic model of
culture exists. By looking at series of smaller responses, this essay will reflect and support the idea of
cultures of the individual, explained by Richard Schechner. Within the discussion of Interculturalism
he states;
No culture is pure that is, no culture is itself. Can not the existence of distinct cultures be
located down to the neighbourhood, the family grouping, and possibly the individual? (Schechner,
1991: 308-309)
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In the first chapter I will discuss the relation between the disaster and its responses, comparing
multiple versions of the event including my own. I will then look at specific works in chapter two,
focusing in on the relations between the artist and the audience.

Chapter one: The disaster and the responses

A description
In discussing the nuclear disaster, we first encounter the complications involved in describing what
actually happened. Researching about how different organizations tell a story of truth made it clear
that each group had different agendas, with what they wanted the readers to believe and focus on.
This, unlike the natural disaster, can be explained in the general beliefs that someone or something
has to take the responsibility for what has happened, while the natural disaster as the name
suggests, is perceived as something that is beyond our control therefore it is deprived of the
questioning.
Baring in mind that there are conflicting intentions behind the statements being made, including
the writers version of the event, this description will attempt to articulate in a way which will benefit
the readers understanding of the artworks being discussed in this essay.

Wikipedia, a collectively edited platform in which individuals contribute information online, looks at
the event in a matter-of-fact manner, delivering the information with an accessible but slightly
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technical language;
The Fukushima Daiichi nuclear disaster was a catastrophic failure at the Fukushima I Nuclear
Power Plant on 11 March 2011, resulting in a meltdown of three of the plant's six nuclear reactors.

The failure occurred when the plant was hit by the tsunami triggered by the Thoku earthquake; the
plant began releasing substantial amounts of radioactive materials beginning on 12 March,
becoming the largest nuclear incident since the 1986 Chernobyl disaster (Wikipedia, 2014).
This informative description of the event is interested in communicating an accurate account and
contextualizes the event in relation to other events such as the tsunami, the earthquake and the
Chernobyl disaster. The American Nuclear Society who compiled their own in-depth report of the
disaster starts with how the natural disasters affected the power plant;
Electricity, gas and water supplies, telecommunications, and railway service were all severely
disrupted and in many cases completely shut down. These disruptions severely affected the
Fukushima Daiichi nuclear power plant, causing a loss of all on-site and off-site power and a release
of radioactive materials from the reactors (American Nuclear Society, 2011).
Their statement stays vague as though not to put the blame on anything in particular, at the same
time explicitly listing all the disruptions and the state it has left. On the contrary, the environmental
organization Greenpeace has more of an anthropocentric (human-centred) description adding that;
It also exposed serious failures in the Japanese system for ensuring the safety of nuclear reactors,
as well as collusion within the government and nuclear industry (Greenpeace, 2013).
Their approach is sharp and emotional at the same time; deliberately communicating the urgency to
create agitation in the reader.
All three varying statements illustrate the complexity of the event. If there are different versions of
the event, can it be said that we are responding to the same event? Michael Forster Rothbart, a
photojournalist who photographed those who chose to stay in Chernobyl after the nuclear disaster in
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1986 states from his experience; a disaster is not the same story told a million times, its a million
different stories told all at once (2013). This indicates that however small or uninteresting the story
might be, we all have a story to tell. Furthermore, it gives each person an entitlement to share it with
others, in the interest of contributing to a holistic understanding of an event which we have
experienced collectively.

Disaster
In this essay I will be focusing on the nuclear disaster rather than the earthquake, which is in no
doubt a huge part of the event. However, my creative exploration has been from a first person
perspective of the nuclear disaster as I see myself as a victim of the event, more so, than of the
natural disaster. This can be easily explained; I was not in Japan at the time of the earthquake, which
makes my experience different to those who were in the country.

How can one possibly describe something that has had a huge impact on so many people including
myself, with just one word? I did not know what to call it at first and I did not even realize that I had
not talked about it enough to settle on a word. I also had not talked about it in English often enough to
encounter the word disaster. In England, I have only had one fleeting conversation which felt natural
and also one strongly discriminative comment directed at me on the topic. If one is not able to speak
about their experiences in their day-to-day life, it becomes isolating and frustrating at times. However,
things started to change after I went back home to Japan for my Practice in Context project. I had
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been unconsciously trying to avoid mentioning the disaster and the word nuclear because I did not
know when it was appropriate for me to talk about it. I could not call it an accident or an incident,
because both seemed to project opinions that I did not support.
It takes some figuring out to name something when youre still experiencing an ongoing event.
Three years have passed; I am just processing what has happened and finally have established the
distance to it which enables me to call it a disaster and write this essay.
Until I needed to communicate the context I was working in for my project, I could get away with
not naming it, but in order to talk to people about it, I needed a word, a common word, and disaster
seemed most fitting. The habitual language is a short-hand which is practical, though no word
describes what it is entirely, or how it would manifest itself in a piece of work;
Disasters come in so many forms large and small and of such varying qualities Furthermore it
tells you nothing about the experience of witnessing the piece in its own time and its own space,
and nothing about the journey you would take through the contents of your mind as you watched it
(Christopher, 2001 cited in Bottoms and Goulish, 2007).
This statement supports the idea that, the experience of seeing a performance is a subjective
one. This is amplified coupled with the fact that it is with the experience of the disaster in
mind.

Distance
After the earthquake in March 2011, I cancelled my flight for the Easter break and instead, my
brother came to the UK straightaway to stay with me until the summer. I was in contact with my
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parents through email and my days were spent flicking between Yahoo Japan website and the BBC
website which ran a special full page, breaking news coverage for what seemed like weeks. The
overwhelming amount of coverage online was numbing. I avoided watching any footage of the
tsunami as I thought it would create more distance to the event with myself.
Fukushima is located 6017.164 miles from Falmouth, England. However, as more and more
individuals travel around the world, it is ambiguous as to how far or near one feels with any given
location on the globe. In Japan, people call themselves the Far East, which suggests that it is
confused with its own positioning in the world. The perception of somewhere being far or near is a
vague one, as we all have our own measures to decide how we place ourselves in relation to
another.
Japan, like any other country, is often seen as exotic and many are fascinated by what it has to offer:
in 2013, it attracted 10,364,000 tourists from abroad, slowly gaining back its tourism after the
disaster (Japan Tourism Agency, 2014).

In England, even if one does not personally set foot in the country of Japan, they can access its
culture and its current news, making the country more accessible than perhaps some of those
physically closer to England.
In the case of the disaster, people all over the world were informed of the event as it happened.
Like all events, however small or big, it leaves a mark in our daily lives, but if we do not see ourselves
as a part of the event, the moment passes for us. Being far from the issue physically perhaps makes
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it easier for us to move on, but ultimately, it is about how one relates to an event.
'mental ecology consists of multiple relations in and with the world. By deterritorializing and
retteritorializing the subjects break off from a territory and build new, virtual worlds with
imaginative wherewithal that an ecological mode of thinking is best able to provide. (Conley cited
in Murdoch, 2006: 188).
Looking at the disaster and its responses through the framing of mental ecology and territorialization
(put forward by Gilles Deleuze and Flix Guattari) reassures us that we are all connected; therefore
in theory, it can be said that anyone can create responses to the disaster. It also indicates that the
responses are open for everyone to receive, whether one regards oneself as an insider or an
outsider of the event.

Yet, the zeitgeist puts people into clusters to simplify the story, making it difficult to think about how
each and every one of these people who have experienced the disaster have a life of their own, and
their own way of dealing with it. This is where art comes in, which for me, is a place where
particularities and differences play the key roles. With artwork which has substantial extent such as
the disaster, the personal is the most effective way of communicating the experience as it avoids
generalization and touches people on one to one basis.

Relating to a piece of work
Here are a two examples of how relating is captured in the experience of a piece of work. In Fiona
Wrights twenty short performance papers, she goes through the process of establishing the
relationship between two people;
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Watching someone elses eyes crying might
Making you think of your own eyes crying.
Watching someone elses eyes crying might
Make you think of your own eyes watching (2004:39).
Although it is not always possible, the ability to think about someone elses actions on yourself, then
to detach yourself from the feeling, is what we do on a regular basis. When watching a piece of work,
we are constantly repeating these actions. Depending on which you end up will determine how you
might relate to the issues being presented. Being an audience member requires a skill of carrying out
the measured actions of the two.
Adrian Heathfield upon taking a friend to see a Goat Island show Its an Earthquake in my Heart,
exchanged a few words about the piece;
It was difficult to watch. But not without its pleasures. There was something of me, and of my world
in it, reflected back. Small things but also something fundamental I cant say what. Ill have to
think about it Maybe Ill know in a day or two (2001: unpaginated).
Here, his friend is holding onto nothing other than the visceral experience of the piece. I believe that
this is a form of relating, which, like the former piece, consists of the emotional involvement of the
piece as well as a more measurable aspects of relating. The measurable aspects can be named and
it is possibly something that is familiar that one can point to. Relating, as the latter suggest, is an
important aspect of receiving the work; it works like an agent to the themes and issues being
presented.


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Fascination with the story, the foreign and the extraordinary
Another aspect, fascination plays a huge part in audience engagement that creates a sense of
relating to the work. It allows people to look at something from an outsiders perspective, without the
awareness of commitment they are making as a viewer.
During my Practice in Context project, the blog became a creative medium in which I was able to
communicate to my peers, giving day-to-day updates of my process and posts including what I
imagined for the readers were rather dry facts about the disaster. Despite this, I didnt want to
compromise by not telling them about it; it was important part of my context and I felt a strong duty
and need to inform, perhaps asking for sympathy as well as attempting to illustrate what was
becoming a common knowledge in Japan, giving a better sense of our daily lives. To my surprise,
one reader responded saying they were fascinated with the simple facts about radioactive
substances.
It was encouraging to hear that someone had engaged with what started as a self-serving
necessity, but it could also be taken as offensive in some ways. The Japanese people had not
planned to expose radioactive substances in the environment and fascinating lacks the urgency that
people felt or are still feeling in Japan. Fascination is an intellectual response as opposed to an
emotional one, as poet Lyn Hejinian speaks of the word horror and the like;
The problem (if it is one) is with measurement- with incommensurability and with scale. Either there
is one continual horror or there are deferent, discrete occurrences within it. In neither case can a
horror be taken as representative-as a horror which has absorbed all others. Horror, war, and atrocity
have to be kept in mind as wrecks. And the brutality they produce can only elicit an emoti onal
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response, not a written one (2000:12).
As it has been mentioned earlier on in this essay, a word cannot express its entirety, and as Hejinian
suggests, an outsider cannot feel the exact scale of emotions that one goes through, having been
experienced the disaster. One cannot calculate an experience of another, hence why she has given
us the example of wrecks, which only aims to give us an idea of these words, rather than describing
it. Fascination in this light is a useful tool because it differentiates the receiver and the maker of the
work. It creates the understanding that, we do not have to feel guilty of not feeling how another is
feeling; an important aspect in the case of the disaster.

Why does one make work in response to disasters?
With the inhumane, drama-craving media filled with statistics and its focus on the event, it makes it
hard for us to understand just how an event so big has affected the individuals which are involved in
the event. Nevertheless many individuals tackle this issue by approaching it in their own way. Goat
Islands member Matthew Goulish explains this process;
How do we understand something? We understand something by approaching it. How do we
approach something? We approach it from any direction. We approach it using our eyes, our ears,
our noses, our intellects, our imaginations. We approach it with silence. We approach it with
childhood. We use pain or embarrassment. We use history. We take a safe route or a dangerous one.
We discover our approach and we follow it (2000: 46).
By attempting to understand the disaster through the work of art, one is in the process of
reintegration or recognition of irreparable schism, in Victor Turners model of Social Drama;
breach, crisis, redress and either reintegration or recognition of irreparable schism. Social dramas
occur within groups bounded by shared values and interests of persons and having a real or alleged
common history (1982:69).
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If applied with the disaster, breach would be the earthquake and the tsunami, the crisis is the nuclear
disaster and redress would be allocating places to sleep and things to eat. Redress and the next step
of reintegration are still ongoing. For some, responding creatively is a way of life, but for the benefit of
the communities, it is a positive sign that individuals are participating in the process of reconstruction
for the better.

Chapter two: The artist and the audiences
Chapter two will turn to look at several works which has been made in response to the disaster,
initially assessing how they incorporate the theme of disaster. We will then look at how and if topics
discussed in chapter one is present in the different works, including fascination, agreement on the
event and relating. It will also examine the intentions of the makers of the work, further investigating
how the arts play a role in the disaster.
The first section will discuss a video performance of KI-AI 100 by a activist art collective ChimPom.
The next section will explore a food performance FUKUSHIMA CABBAGE by Sue Hajdu, with
particular focus on consumption as participation. We will then briefly review 281_Anti nukes
approach to audience through his stickers in the streets. Finally, we will explore the result of Kota
Takeuchis installation piece Demolition of Mihako-Theatre.
Many artists have participated in charity performances and fundraising, and this is surely an
important aspect of the responses. However the interest of this essay remains in the different
intensions behind the artworks. It does not aim to create the whole picture of the disaster but to take
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a closer look at a few responses.

Real Times series by ChimPom
The Tokyo-based performance collectives video work KI-AI 100 sees ChimPom members
together with friends in Soma City, Fukushima, in May 2011 doing 100 sequential yells of KIAI,
which is a Japanese shout showing a fighting spirit.(ChimPom, 2011)
While artists responded quickly to raise funds for charities, all the other responses were slower to
emerge. ChimPom on the other hand, were particularly quick to respond with their practice, only two
months after the earthquake.
The fact that the collective has set afoot in Fukushima is an essential part of their work, both for the
audience and artists themselves. It puts them into a situation of either being criticized or celebrated;
one cannot ignore the risk to health they are exposing themselves to, while there are still, as of 2014
reports of radioactive leaks from the plant. Their practice makes us question the necessity to expose
oneself to dangers of radiation in the name of art and activism, one which could otherwise be
avoided by staying away from affected areas. However, this controversy is also what drew peoples
attention to the practice that they had put their hearts into carrying out. In the shot of the ad-libbed
piece with the young locals of the city, they are seen surrounded by collapsed houses and destroyed
boats. They are encouraging each other as if in a start of a competitive sport game, huddled in a
closed circle while chanting all that comes to mind. The hundred chants included I want a girlfriend!
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to Radiation is the best! to Thank you, dad! and so on. However nave they may seem, it is in no
doubt that they are giving their all, making the audience wonder if their question of effectiveness of
their practice is valid.
James Thompson, in his article Humanitarian Performance and the Asian Tsunami, describes
the initial rush for charities to be onsite, the need to be there in order to help those in need, but also
the need to be seen to be there, and this in turn, produces a range of activities that have a
requirement of visibility embedded within them (Thompson, 2011:74). ChimPom, though they are
not a charity, are also operating with a strong need within themselves, to see themselves on the site,
carrying out their practice. In an interview with the leader of the collective, Ryuta Ushiro justifies their
well-intentioned practice, asking;
Did you take the risks and go there to capture something, to feel the air and create an expression,
or did you create something based on looking at something from outside the 30-kilometer zone? I
think there's a big difference. (2011)
Here, Ushiro is suggesting that, by being physically close to the most affected areas, he is able to
connect with the disaster better than he would otherwise. This also shows that he approaches the
disaster from a distance, placing the issues away from his everyday life.
Creating site-based work can be an effective way to connect with a new place, to meet new people
and gain a sense of belonging. In this case, the issue of safety overrides the content of their artworks,
giving their provocation the main focus of their practice. This in turn, has an effect of alienation for the
receivers of their work.
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This is not to say that their practice is invalid or ineffective; provocation has its place, however it is
hard to handle it, leaving the audience to speculate about their intentions rather than to give thought
to those the collective is supposedly trying to bring attention to.

FUKUSHIMA CABBAGE by Sue Hajdu
A year after the earthquake, the Australian Hungarian artist created a piece in response to the widely
reported news of a cabbage farmer who committed suicide after the disaster. She first performed the
piece in a gallery in Tokyo, in which she cooked and served dishes with the cabbages grown in
Fukushima prefecture. The audiences were able to buy the dishes at 311 yen. She has further
developed the piece to tour and now describes the piece as[a] relational project in which she visits
people's homes, cooks a meal for them and then while eating together, discusses the ongoing crisis
in Fukushima (Hajdu, 2014).
The piece may sound alarming to some, for one reason in particular; the cabbage from
Fukushima. After the disaster, the Japanese government increased the standards of the amount of
radioactive substances allowed in produces, consequently letting contaminated foods go on the
market as usual. There are insufficient amount of information about this in the description, therefore
we cannot say that the cabbage served in the performance contained radioactive substances,
though some may be less-inclined to consume the dishes. The intention behind the serving remains
unclear, but what we know is that it was a part of an anti-nuclear exhibition.
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Eat and Support is a particular movement sparked after the disaster, by people who aim to support
people in the more contaminated areas by eating the food that is made in the area. The controversy
is that these foods may contain higher level of radioactive substances. Hajdus performance notes
suggest that this kind of mentality was behind the serving, and it could unite the audience if they
agreed with this somewhat masochistic and blind participation. The other possibility would be that it
will split the audience in a discreet way with those who consumed and those who chose otherwise.
For the audience, to see Fukushima in the name, and to place the issue there, is to distance
oneself from the more immediate issue of consuming the food. Consuming the food and temporarily
supporting the farmers in the affected area does not lead to a sustainable future of the sufferers of
the disaster. If an audience member wanted to help these farmers and saw themselves as a victim of
the disaster, they would be going to the government to change the standards, not to swallow the
issue entirely.
Back to the performance: to create a place for people to speak about the ongoing issues about the
disaster, especially when done in the comfort of their home, has the potential to be an invaluable
exchange. While spending time in Japan for my project, I personally found it very difficult to mention
the disaster in some contexts, and found that this feeling was shared between many. The fact that
the artist is not Japanese and serving foreign dishes creates an impression that she is an outsider of
the event which functions in favour of the discussion to follow. It creates a delusion that people can
speak freely, with less awareness of social construct that they abide by in other situations. At the
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same time, having this outsider image could create a suspicion around the intentions of her practice,
one that should be questioned for any makers. How do you relate to the issue and why are you
making it?

Graffiti-style stickers by 281_ Anti nuke
281_Anti nukes work was created because there are not enough opportunities to talk about the
ongoing disaster. His graffiti-style stickers send anti-nuclear messages to the people of Tokyo,
catching their eye as they rush through the crowds. In one of the stickers, he uses a drawing of a girl
in a raincoat, with a message I hate (nuclear symbol icon) rain. He does not reveal his name but
says that he is a father who fears for the future of his child. In his method of working, he does not ask
for the permission but interrupts peoples daily lives and urges them to consider the threat that he is
sharing with them. The message is clear and whether you agree with him or not, if you have noticed
it, his intervention becomes a success.
The stickers are a way of flagging, expressing his opinions but not giving much more. What this
instigates is for the receivers to talk amongst themselves and take action, as opposed to going back
to him to start a dialogue. Indeed, he does not take control of the consequences of the intervention
but it will resonate in the rest of someones day. The question about relating for the audience does
not become a concern, because it does not ask explicitly to be related to, but anyone who comes
across it builds a kind of relation to it.
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Demolition of Mihako-Theatre by Kota Takeuchi
The development of 281_Anti nukes idea of self-led exploration is an artist who comes from an art
background unlike 281_Anti nuke who claims to have been born on 11 March, 2011. What they have
in common is that they have put themselves in the centre of their practice, responding for their own
causes.
Takeuchis installation Demolition of Mihako-Theatre takes the footage of the demolition of a local
theatre in Fukushima, and layers it with a live shot of the audiences who sits in front of the screen.
The audiences are made to feel as though they are sitting in the middle of the demolition process.
Although they are not asked to do anything special, coming face to face with self in a
performance context is unusual; it makes them consider their presence within the space. The
duration of the process allows them to wander off into their thoughts, perhaps reminding them of
other demolitions they have seen in the area, or they might take time to look at every bit of debris that
they are surrounded by in the screen.
By filming the demolition, the moment of disappearing becomes engraved and allows the
audience to haunt the frame. The result of the two footages is eerie and dark, a visually powerful
way of vowing not to forget what happened. The piece does not assume how the audience is but
proposes that people play their part within the frame and beyond.




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Conclusion
This is a time to think about ourselves. To understand and openly state that you are a victim of the
event is a difficult thing to do, especially if so many people have suffered worse. When you see
someone who has lost their home in the disaster, you might be preoccupied with helping them out.
Nevertheless, sustainable, thorough reconstruction of our everyday lives starts only with the
awareness that we ourselves are affected by the disaster. As the artists have shown, standing up for
oneself by making responses can be the most beneficial thing for them and others, but it does not
translate well if ones relation to the event is unclear.
The introduction of this essay contextualized my own intentions of carrying out this research and
discussed my own practice in Japan. The first chapter explored the different perceptions of the
disaster and its complications around the language used to describe the event. I then introduced the
idea of mental ecology as a way of framing the practice for people who seemingly has no relations
with the disaster. The outline of relating was explained through the examples of performances, and
reframed in another approach of fascination. Finally the last section of the chapter contextualized the
responses in relation to the disaster using the model of Social Drama by Victor Turner.
Chapter two explored four very distinct pieces of work by ChimPom, Sue Hajdu, 281_Anti nuke
and Kota Takeuchi, with particular focus on intentions, relations and functions. ChimPom had a
radical approach to disaster, by being immersed in the environment but still keeping a distance to the
idea of being a victim. Sue Hajdus work blurred the audience performer relationship through
consumption of food, which had a potential to reveal peoples political views. 281_Anti nukes
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stickers showed a simple, practical and coherent way of expressing ones view. Finally, Kota
Takeuchi asked the audience to participate, not to imagine but to see themselves in the situation of
deconstruction.

To believe in the responses is to believe in the power of the individual.
Many thanks to the artists for creating thought-provoking works and my thoughts go out to the people
who have not yet found a home again. Along with my friends, I will keep making and exploring.






















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