The autumn MAD classes have begun. Last week Michihiru Yoshimoto, researcher at the NLI Think Tank lectured on recent Japanese cultural policy. Here are some of my notes from his talk.
The 1980s - Then Prime Minister proclaims 'culture' as an important government initiative. Cultural Initiatives begin (Bunka Jigyoh).
1986 - The 'Nichi Futsu Bunka Summit' (Japan-French Cultural Summit). Here, the notion of corporate 'mecenat' patronage along the French model is introduced and discussed at length.
1990s - 'Epoch-making period'. The Corporate Mecenat Foundation begins - allowing companies to donate to cultural activities and receive tax breaks. The bubble bursts in the late 90s but cultural mecenat support increases. This is also the period of massive regional infrastructure building (Hakomono Gyohsei) - 'box building'. Hundreds of cultural centers, halls and museums are constructed around Japan.
1996 - The Cultural Ministry action plan called Arts Plan 21 is launched.
1998 - NPO Law passed.
2001 - Government passes 'Geijutsu Bunka Kihon Hoh' - Basic Law for arts and culture.
In the same year the 'Dokuritsu Hohjin hoh' is passed (Self Administrative Law), as part of greater privatisation reforms of the Koizumi government.
Discussions about the creation of Arts Councils begin in Tokyo and other regions.
As of 2001 there are approximately 400 museums in Japan. However due to no increase in overall funding, most budgets go into the maintenance of buildings rather than programming.
2003 - 'Shitei Kanri Sha Seido' - opening up of municipal cultural institutions to private sector management. The underlying rhetoric is one of serving the community/ audience and reducing/ streamlining budgets. A process of open tender is initiatied, which has led to various management models in cultural institutions. The issue of programming continuity has emerged as one major area of concern - open tender every three years potentially means highly disrupted programming and outreach.
Current - There are moves towards greater tax break status for individuals and companies giving to cultural institutions. It has become easier to apply for Foundation status which, different to non profit status, means that gifts are eligible for tax free breaks.
Some future trends: The phenomenal growth of the non profit sector will continue - particularly as regards what Yoshimoto san calls 'service oriented NPO's' (like AIT), who are not primarilly engaged in exhibitions or performance, but structure-building, education and discourse making. As of 2007 there are over 30,000 non profit organisations in Japan covering all areas. Of these approximately thirty percent are arts non profits (covering visual arts but also environmental and other cultural areas). According to data compiled by Art Link there are over 2000 arts NPO's. The government has begun to catch onto 'Creative Industries', but in a very narrow way - primarilly the film and animation industries. 'Creative Cities' discourse has also been taken up by many cities across Japan. Yokohama, for example, is a leading exponent of urban cultural renewal policy. There continues to be a severe lack of cultural specialists in all areas of public office in Japan - in municipal and central government. This leads to fragmented policy making, non continuity, lack of knowledge about whats going on in various arts sectors on the ground and erratic funding allocation. Not to mention a lack of vision about cultural policy in general.
Yoshimoto san's closing remarks were that the challenges Japan face in the arts and cultural sectors are almost too high to overcome (he serves on various public policy making committee's and has experienced the intensely time-consuming and conservative nature of the state machine). However, he feels that one must simply continue lobbying and engaging with these issues, for any change to occur.
Three Things which the Government of Japan could do NOW to improve cultural policy:
1 - Since Prime Minister Koizumi it has become customary for the Prime Minister to give short press breifings in his residence, usually standing in front of a large painting. These paintings are always either Nihon-Ga or neo-Impressionist oil painting. Hire a young curator to select a variety of old and new art works to serve as the Prime Ministers backdrop for press briefings.
2 - The Koban (police box) system in Japan is a unique community policing model, based on tiny police boxes dotted around the city. Instead of building new huge museums or concert halls, develop a system of 'Koban Culture Centers' around the city by converting disused shops, police boxes and buildings. These could house micro galleries, concerts, libraries for the people living around. Culture centers with audience targets of dozens rather than thousands.
3 - Encourage art schools and universities to invite younger artists and practioners as guest tutors - at least half of all invited tutors should be currently active practioners, and not semi retired artists.
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