LOCAL REVITALIZATION THROUGH COMMUNITY-DRIVEN SITE-SPECIFIC ART FESTIVALS THE CASE OF ECHIGO-TSUMARI, JAPAN A © 2024 International Bank for Reconstruction and Development / The World Bank 1818 H Street NW, Washington DC 20433 Telephone: 202-473-1000; Internet: www.worldbank.org This work is a product of the staff of the World Bank Group with external contributors. The findings, interpretations, and conclusions expressed in this report do not necessarily reflect the views of the directors, executive directors of the World Bank Group, or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The artworks, colors, denominations, and other information shown in this work do not imply any judgment on the part of the World Bank concerning the legal status of any territory or the endorsement or acceptance of such boundaries. Nothing herein shall constitute or be considered to be a limitation upon or waiver of the privileges and immunities of The World Bank, all of which are specifically reserved. Rights and Permissions Cover photo: For Lots of Lost Windows Source: Artwork by Akiko Utsumi,. Photo by T. Kuratani. Courtesy: Echigo-Tsumari Art Trriennale About Tokyo Development Learning Center (TDLC) Launched in 2004 under the partnership between the government of Japan and the World Bank, the Tokyo Development Learning Center (TDLC) is a World Bank program managed under the Urban, Disaster Risk Management, Resilience and Land Global Practice (GPURL). TDLC serves as a global knowledge hub that aims to operationalize Japanese and global urban development knowledge, insights, and technical expertise to maximize developmental impacts. TDLC continuously works to identify and document unique Japanese expertise to inform new ways of achieving urban development. For more information, visit www.worldbank.org/tdlc. B LOCAL REVITALIZATION THROUGH COMMUNITY-DRIVEN SITE-SPECIFIC ART FESTIVALS THE CASE OF ECHIGO-TSUMARI, JAPAN Acknowledgments This report was possible due to contributions from Fram Kitagawa, chair of Art Front Gallery, Rei Maeda, director of Art Front Gallery, and the residents of Echigo-Tsumari. This publication was written and produced by James Jae Hu Lee, Knowledge Management Analyst, with the support of Christopher Pablo, TDLC team lead, and Hannah Messerli, senior consultant. 2 Hoshitoge Rice Terraces Near Tokamachi in Summer Source: Courtesy: Echigo-Tsumari Art Triennale 3 CONTENTS EXECUTIVE SUMMARY 8 1 CHAPTER LOCAL REVITALIZATION THROUGH COMMUNITY-DRIVEN, 14 SITE-SPECIFIC ART FESTIVALS FUNDAMENTALS OF SITE-SPECIFIC ART FESTIVALS 16 What Is Site-Specific Art? 16 What Is an Art Festival? 16 NEED FOR REVITALIZATION 18 Role of Art Festivals in Driving Local Revitalization 18 Revitalization Driven by the Community 19 Regional Revitalization through Site-Specific Art Festivals 19 Art Festival Impacts 20 2 CHAPTER ECHIGO-TSUMARI ART TRIENNALE 22 TERRAIN AND CLIMATE 24 BRIEF HISTORY 25 ART THAT CONNECTS PEOPLE TO PLACES 27 ART THAT CONNECTS PEOPLE TO MEMORIES 30 BEYOND ART, A FESTIVAL THAT CONNECTS PEOPLE TO PEOPLE 32 FUNDING AND IMPACT 35 ECONOMIC RIPPLE EFFECTS 37 3 CHAPTER THE PROCESS OF DESIGNING A COMMUNITY-DRIVEN, 38 SITE-SPECIFIC ART FESTIVAL CONCEPT DEVELOPMENT 40 Preliminary Study 40 SITE SELECTION—FROM REGIONS TO SPECIFIC PLACES 41 1. Identification of Local Leaders—Catalyzing Community Interest 41 2. Awakening Community Interest—Building Community Support 42 3. Analysis of Local Creative Assets—Creative Framing of Cultural 43 and Natural Heritage 43 4. Assessing Local Infrastructure 43 4 3 CHAPTER PLANNING 44 Informational Briefings and Town Halls 44 Initial Investment 44 Organization of Local Implementation Team 44 Selecting Participating Artists 45 Festival Promotion 45 IMPLEMENTATION AND POST-EVENT MAINTENANCE 47 Logistics and Operation 47 Festival Evaluation and Archiving 47 Artwork Maintenance 47 4 CHAPTER MINICASES OF SITE-SPECIFIC ART FESTIVALS IN JAPAN 48 CASE 1: SETOUCHI TRIENNALE 50 Funding and Impact 57 CASE 2: ICHIHARA ART X MIX 58 CASE 3: OKU-NOTO TRIENNALE 60 CASE 4: NORTHERN ALPS ART FESTIVAL 64 CLOSING COMMENTS 66 APPENDIXES 70 REFERENCES 72 BIBLIOGRAPHY 72 5 FIGURES Figure ES.1 The Three Focus Areas for Developing Site-Specific Art Festivals 12 Figure 3.1 The Three Focus Areas for Developing Site-Specific Art Festivals 40 Figure 3.2 Organizational Flowchart for a Site-Specific Art Festival 42 Figure A.1 Art Front Gallery Organization Chart 70 MAPS Map 2.1 Map of the Sreas That Make up the Echigo-Tsumari Region 24 Map 4.1 Seto Inland Sea 51 PHOTOS Hoshitoge Rice Terraces Near Tokamachi in Summer 2 Photo ES.1 Where has the river gone? 8 Photo ES.2 Cakra Kul Kul 10 Photo ES.3 Reverse City 13 Photo 1.1 Tunnel of Light 14 Photo 1.2 Dream House 17 Photo 1.3 The Last Class 20 Photo 2.1 Shinano River that Passes through the Echigo-Tsumari Region 20 Photo 2.2 Heavy Snowfall during Winters in Echigo-Tsumari 24 Photo 2.3 Residents Clearing Heavy Snow during Winters in Echigo-Tsumari 25 Photo 2.4 Les Regards 27 Photo 2.5 The Rice Fields 28 Photo 2.6 Visitors Walking up The Rice Fields 29 Photo 2.7 The Former Sanada Elementary School 30 Photo 2.8 Depictions of Children’s Colorful “Hopes” and “Dreams” 31 at the Former Sanada Elementary School Photo 2.9 Depictions of Three Students Made from Driftwood 31 at the Former Sanada Elementary School Photo 2.10 Staff Members Pose in Front of the Ubusuna House 32 Photo 2.11 The Repurposed Ubusuna House Offers Overnight 33 Accommodations for Visitors Photo 2.12 Patrons Enjoy a Meal at the Ubusuna House Restaurant 33 Photo 2.13 Local Cuisine Served at the Ubusuna House Restaurant 34 Photo 2.14 Ubusuna House Kamado Stove 34 Photo 3.1 Volunteers at the Matsudai Rice Terrace 38 Photo 3.2 Volunteers Planting Rice 46 6 Photo 4.1 View of the Seto Islands 48 Photo 4.2 View of Cruise Ships in Seto Island 50 Photo 4.3 Sora-Ami: Knitting the Sky 52 Photo 4.4 Residents Taking Part in the Knitting of Sora-Ami Knitting the Sky 53 Photo 4.5 Exterior of the Island Theatre Megi 54 Photo 4.6 Interior of the Island Theatre Megi 54 Photo 4.7 Shima Kitchen 55 Photo 4.8 Inside the Shima Kitchen 55 Photo 4.9 Different Types of Onbas 56 Photo 4.10 A Local Resident Using an Onba to Carry Things 56 Photo 4.11 Kominato Railway 58 Photo 4.12 My moon is always travelling: Murakami’s last Flight. 59 Or “Waiting the train to the Moon”(side view) Photo 4.13 My moon is always travelling: Murakami’s last Flight. 59 Or “Waiting the train to the Moon” (front view) Photo 4.14 Suzu Coast 60 Photo 4.15 Image of Suzu Coast with Residential Houses 61 Photo 4.16 Something Else Is Possible 62 Photo 4.17 The Boat Which Carries Time 62 Photo 4.18 Effects of the January 1st, 2024, Earthquake, Suzu City 63 Photo 4.19 Tangible Landscape 64 Photo 4.20 What has happened/What will happen 65 Photo 4.21 Doctor’s House 66 Photo 4.22 Volunteers at the Matsudai Rice Terrace 68 TABLES Table 2.1 Cashflow Chart from the 2009 Echigo-Tsumari Art Triennale 35 Table 2.2 Costs and Fees Associated with the Echigo-Tsumari Art Triennale, 36 1997–2022 Table 2.3 Festival Budget and Economic Effects Produced from the First Two 37 Art Triennales, 1996–2003 Table 2.4 Economic Effects of the Echigo-Tsumari Art Triennale, 1997–2022 37 Table 4.1 Primary and Secondary Economic Effects of the Setouchi Triennale, 57 2010–19 Table 4.2 Impacts of the Ichihara Art x Mix 59 Table B.1 Echigo-Tsumari Art Triennale 71 Table B.2 Setouchi Triennale 71 7 EXECUTIVE SUMMARY 8 PHOTO ES.1 Where has the river gone? Source: Artwork by Isobe Yukihisa. Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale 9 EXECUTIVE SUMMARY T his report introduces an approach Site-specific art refers to artwork that is to local revitalization through created with a specific location in mind, community-driven, site-specific art and the artwork itself is reflective of the festivals. Site-specific art festivals emerged in characteristics of the location. Site-specific Japan in the early 2000s to revitalize villages art festivals are community-driven and and towns suffering from economic decline. are centered around site-specific artworks The most prominent feature of this approach that are placed in various locations within is that the festival is community-driven and a defined area. The “exhibition” area builds upon itself to become an iterative can encompass large swaths of natural, event that brings back visitors and generates outdoor settings, where artworks are sustained economic activity. It is this iterative placed in mountain valleys, agricultural characteristic of the festival that drives fields, river gorges, seashores, or lakes. innovative local economic development in Site-specific artworks also can be placed a sustainable and creative manner. indoors, bringing new life to empty schools, warehouses, and abandoned tunnels. Site-specific festivals can vary in scale, taking place in a few towns or occupying several islands. These art festivals, centered on site-specific artworks for revitalization, were pioneered by Fram Kitagawa, founder and chair of Art Front Gallery in Tokyo, Japan. Recognizing the power of public installation art from Münster, Germany, and the Creative City Project in Nantes, France, to regenerate public spaces and revitalize towns in decline, Kitagawa successfully revitalized cities through public art projects for urban redevelopment. He has been using site- specific art to direct festivals in rural areas across Japan since 2000. In response to the request from his hometown, Niigata Prefecture, to revive the area, which had experienced steady population decline, Kitagawa held his first art festival in Echigo- Tsumari. Since then, Kitagawa has become PHOTO ES.2 known as the pioneer in leading large-scale, Cakra Kul Kul community-driven site-specific art festivals, Source: Artwork by Dadang Christanto. Photo by Takenori Miyamoto and Hiromi Seno. Courtesy: Echigo-Tsumari Art Triennale such as the Echigo-Tsumari Art Triennale and the Setouchi Triennale. 10 WHY ECHIGO-TSUMARI? IMPACTS SPATIAL TRANSFORMATION This report focuses on the The process of designing and Many areas of Japan are birthplace of site-specific art organizing community-driven, experiencing emigration festivals, the Echigo-Tsumari site-specific art festivals can and attrition because of a Art Triennale in Niigata. Since drive local revitalization and variety of factors, such as 2000, the festival has an unlock socioeconomic benefits. deindustrialization and shifts extensive history of revitalizing in economic structures, which the area of Echigo-Tsumari, LOCAL ECONOMIC leave agriculture land and which historically encompassed REVITALIZATION urban areas and buildings six municipalities: Tokamachi, Site-specific art festivals unoccupied. The site-specific Kawanishi, Nakasato, Matsudai, create a new source of local art festival leverages these Matsunoyama, and Tsunan revenue through domestic and underused assets as spaces (which became Tokamachi foreign visitors’ consumption for artworks, and at times, City and Tsunan Town in 2005, expenditure. The festivals the abandoned structures under the merger policy). provide opportunities for the themselves are transformed local community to monetize into artworks. The report spotlights the cultural products, including innovative approach of local cuisine and crafts. Most SUSTAINABLE COMMUNITY driving local revitalization and DEVELOPMENT important, visitors continue improving social cohesion to visit the festival area during Site-specific art festivals by leveraging site-specific art nonfestival periods to see support sustainability in festivals. The role of cultural the permanent, site-specific local communities through heritage, urban regeneration, artworks, which helps to the permanent nature of and sustainable tourism to sustain economic activity the art installations and the unlock economic and social beyond the festival periods. The recurring characteristics of benefits is well documented. increase in economic activity the festivals. Site-specific art The approach of using site- related to the festival and the is rooted in place and thus specific artworks, such as in artworks creates opportunities acts as an attraction even Echigo-Tsumari, builds on these for the development of new during nonfestival periods. ideas to revitalize marginalized attractions, food services, These festivals are not one-off communities. hospitality provisions, transport events—rather, they are events services, and other tourism- that build upon previous related businesses and services. festivals and grow through using new locations and developing new artworks. The festivals connect visitors KAWANISHI AREA MATSU DAI AREA TOKAMAC HI AREA MATSU NOYAMA AREA TSU NAN AREA NAKASATO AREA 11 with local history and culture, a series of art festivals method of local economic where even the residents across Japan. The concept revitalization and increased become involved as festival development stage is the most social cohesion that has been volunteers. This connection, important stage as it sets the demonstrated in Japan for created through the festivals overall theme and determines nearly 25 years. Community- and the artworks, increases the scale and scope of the driven, site-specific art festivals the sense of civic pride among festival before organizers move take time to develop and are residents. Increased economic forward to the preparation and an iterative process that fosters activity also contributes to implementation stages. productive change. Achieving the maintenance of key revitalization through the site- infrastructure, such as schools, The concept development specific art festival approach clinics, shops, gas stations, and stage emphasizes the requires a sound foundation train routes, which further adds identification of potential and strategic support from to the sense of place. geographies and locations the local government and the for the art development and community. Key considerations exhibition, and it also serves to DESIGNING AND for the local government to DEVELOPING SITE-SPECIFIC harness public participation act as the catalyzer and ART FESTIVALS to drive bottom-up efforts of enabler of this approach regeneration, which are integral include the following: The organization and to festival delivery. Site-specific development of community- artworks are uniquely produced • Setting clear objectives and driven, site-specific art festivals for a particular location, and managing expectations comprise three focus areas: thus the artwork shares a Given that the impacts of (a) concept development, relationship with the location the festival do not emerge (b) planning, and (c) and it is reflective of the local immediately, it is important implementation and post-event environment. for local leaders or the maintenance, as illustrated in local government to clearly figure ES.1. These actionable OBJECTIVE AND articulate the objective of the steps and key considerations OPPORTUNITIES festival, namely, an approach have been distilled from This report aims to introduce contributing to revitalizing Fram Kitagawa’s extensive a new way of thinking for a the area. experience1 in organizing Figure ES.1 The Three Focus Areas for Developing Site-Specific Art Festivals Concept Development Planning Implementation and • Preliminary study • Information briefings Post-Event Maintenance • Site identification and analysis • Budget setting • Logistics and operation • Site selection • Local implementation team • Festival evaluation • Artist selection • Artwork maintenance • Festival promotion Source: World Bank The art festivals directed by Fram Kitagawa include the Echigo-Tsumari Art Triennale, Aqua Metropolis Osaka, Ichihara 1 Art x Mix, Setouchi Triennale, Oku-Noto Triennale, and Northern Alps Art Festival. 12 • Facilitating trust and greater public participation through transparency Being transparent about the sources and uses of funds helps build trust with residents and enables their commitment to organizing the festival. Transparency sustains resident interest and can help attract volunteers and other necessary talent. • Scaling externalities through combining with other initiatives The impact produced from the festivals embraces important externalities, including creating economic ripple effects, increasing indirect spending, increasing visibility of the region, and improving social cohesion. These positive externalities can be expanded further when combined with other initiatives, such as projects to conserve local cultural heritage, environmental cleanups, and land redevelopment. The process and impacts rising from site-specific art festivals in Japan serve as a valuable model for catalyzing local economic revitalization globally. This approach and the lessons learned from Japan’s experience can be used in other marginalized regions facing population declines and out- migration. The case of Echigo- Tsumari Art Triennale provides inspiration for communities, governments, and artists to collaborate creatively for PHOTO ES.3 economic revitalization, which Reverse City benefits local participants and Source: Artwork by Pascale Marthine Tayou. Photo by Takenori Miyamoto the entire region. and Hiromi Seno. Courtesy: Echigo-Tsumari Art Triennale 13 LOCAL REVITALIZATION THROUGH COMMUNITY- DRIVEN, SITE-SPECIFIC ART FESTIVALS PHOTO 1.1 Tunnel of Lights Source: Artwork by Ma Yansong/MAD Architects. Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale 14 1 15 FUNDAMENTALS OF SITE-SPECIFIC ART FESTIVALS WHAT IS unique aspects. These unique curation of international and SITE-SPECIFIC ART? characteristics are often further domestic artworks, whereas In contrast to artworks that are shaped by local challenges, at an art festival, the artworks housed in traditional museums which can serve as the theme are often produced from and galleries, site-specific art for site-specific artworks. Site- local resources and with the refers to artworks that are specific works are integrated cooperation and input of the installed in spaces that reflect with the surroundings in a way residents. and become part of their local that reconfigure the viewer’s conceptual and perceptual Site-specific art festivals environments. Site-specific art experiences, leading to a can attract outside visitors, is created for a specific location deeper understanding and and in doing so they can to highlight the unique features appreciation of the artwork and boost local economies from of an environment, to the point the site itself. In this process, increased visitor spending that the artwork would lose the artwork can spotlight on local transportation, its meaning if it were to be specific messages and elicit food and beverages, and relocated. Thus, many site- emotional responses. accommodation facilities. specific artworks are displayed Cases from Japan have shown in open fields, parks, natural the tangible socioeconomic settings, or closed school WHAT IS AN ART FESTIVAL? benefits delivered through art buildings, or they are housed festival attendance fees and inside abandoned homes or In this report, festivals are festival activities. Site-specific warehouses. Even swimming defined as repeated thematic art festivals help put towns “on pools can be repurposed as events that focus on the the map” for travelers and help site-specific artworks (photo commemoration of culture, visitors discover the region. 1.1). Site-specific art can seem history, and traditions. Festivals The process of designing and similar to public artwork involve local stakeholders and organizing the festival helps because of its accessibility. the community in the process increase residents’ civic pride However, although public of event design, organization, and often raises awareness of artwork can be moved to a and delivery. Art festivals local challenges and issues. different public location and are events centered around still be appreciated fully, site- showcasing a range of art For example, Dream House is specific art is rooted in place forms, including fine art, dance, an artwork created by Marina and is created with the location music, film, literature, poetry, Abramović. This artwork reused in mind. and even cuisines. What sets an old house in the Echigo- art festivals apart from art Tsumari region. Dream House Site-specific artworks, designed exhibitions is that an exhibition serves as an accommodation for a particular location, share prioritizes aesthetic value, venue, where visitors can stay a relationship with the place whereas art festivals prioritize over and sleep in the special and the art is reflective of people and the social values beds placed in each of the its local characteristics, such that come from participating room (Photo 1.2) in a special as the local culture, history, in the festival (Makoto, 2022). sleeping suit. The concept landscape, nature, and other Another difference is that an of this artwork is “a bed for exhibition is focused on the dreaming a dream.” 16 PHOTO 1.2 Dream House Source: Artwork by Marina Abramović. Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale 17 NEED FOR REVITALIZATION In some regions, marginalized Local revitalization starts This is especially the case for and neglected pockets exist with both a progressive and developing underused land, that experience challenges retrospective scoping exercise which can unlock new sources of underdevelopment, (Amirtahmasebi et al. 2016). of revenue and growth. economic stagnation, and The exercise is forward-looking decline. These marginalized in that it provides a vision for ROLE OF ART FESTIVALS areas are often disconnected decision-makers by analyzing IN DRIVING LOCAL from major city centers and the current and potential REVITALIZATION are geographically isolated challenges of a location and Among various local because of the presence of the resources required to revitalization strategies, projects natural barriers or the lack of overcome those constraints. It is making use of art festivals transportation infrastructure. At backward-looking in the sense have been gaining attention a regional level, marginalized that the exercise takes a careful in Japan. Using art has been and neglected areas can be accounting of the history, one of the key methods among considered as underused culture, and socioeconomic revitalization strategies to spaces, which can benefit from composition of a location to galvanize economic activities interventions that can help understand the dynamics and to bring local communities restart productive economic of the local community and together by helping them activity. the underlying obstacles for develop a sense of place growth. Thus, the scoping and identity. Rejuvenating Revitalization can take exercise provides the necessary economic activities by place at various local levels, analytical foundation to attracting visitors can including cities, towns, and formulate the approaches and certainly lead to the creation villages. Regional revitalization to plan the required steps for of monetary wealth, but it is used to describe the financing and implementing also results in the creation of culminating impacts of the vision. intangible benefits that help revitalization encompassing improve the quality of life of multiple villages and towns. The process of revitalization the local community. For the Regional revitalization policies is supported by the interplay gains arising from revitalization and projects can catalyze between public assets and projects to be broad-based and marginalized segments of these the community. Within public equitable, the process needs population centers to enable assets, land is often the to be inclusive and rooted in economic growth, improve most valuable asset for local community participation. livability, and spur other desired governments and it is central to social outcomes. triggering revitalization projects. “Art is about discovery, learning, exchange, and collaboration. Art has the power to create meaningful experiences that may not be readily expressed by words. Art requires a visitor and therefore it is meant to be experienced. This exchange is what produces the emotional response—what moves, speaks, and engages people.” —Fram Kitagawa 18 REVITALIZATION DRIVEN BY Typically, site-specific art Corporation (now known as THE COMMUNITY festivals are held in neglected Urban Renaissance Agency), Site-specific art festivals are one or underdeveloped towns or under the commission of of the approaches, with proven villages that are somewhat the Tokyo Metropolitan results, that can activate local disconnected from city centers. Government and Tachikawa economic activities and lead The local community in these city government, to redevelop to revitalization. The crux of areas may be quite closed off, the local community through this approach is that it actively but seeing visitors walking art. The project name, FARET, engages communities to define around local neighborhoods is a combination of the Italian and express their needs and during the festival can help word “fare” (which means “to aspirations for renewal from change residents’ perception of create”) and “t,” to represent the start. Citizen participation their neighborhood. The site- Tachikawa. in conceptualization, planning, specific artworks help connect outsiders to local history, The FARET Tachikawa project and implementation of culture, and challenges, thus began with the idea of revitalization projects creating a mode of cultural rebranding the city under the is fundamental to the exchange. This exchange concept of a “town that reflects sustainability and success of between the locals and the world,” “function into any revitalization initiative. outsiders, facilitated by the art fiction (art),” “town of wonder Community participation pieces and festival activities, and discoveries” by installing throughout the revitalization fosters the revitalization of public artworks representative process is crucial in increasing the area by using spaces in of different cultures. Under the sustainability and success neglected areas. this project, in Tachikawa of the project because the City, 109 public artworks needs and aspirations of the created by 92 artists from 36 residents are integrated into REGIONAL REVITALIZATION THROUGH SITE-SPECIFIC countries were installed on the revitalization plans. In ART FESTIVALS everyday pedestrian streets addition, local participation and sidewalks To remake the is a constructive way to As stated, art festivals centered town, the project opened channel public opinion and on site-specific artworks for discussions on the function of interests that may otherwise revitalization were pioneered art in a city and the idea of how materialize in the form of in Japan by Fram Kitagawa, infusing towns with character discontent, protests, and founder and chair of Art Front and ambience can lead to unrest (Amirtahmasebi et al. Gallery in Japan. The inspiration revitalization. In 1997, a local 2016, 116). of Kitagawa’s site-specific volunteer group, the “FARET art festivals was through The art-led approach uses Club,” was formed to energize the FARET Tachikawa urban community knowledge as this transformation; the club redevelopment project to an analytical foundation to continues today to carry on revitalize the city of Tachikawa shape the themes of the artwork maintenance, guided in the outskirts of Tokyo in the site-specific art, which in turn tours, and workshops. early 1990s. influences how the festival is The organization and design experienced by visitors. The The Tachikawa area previously of FARET Tachikawa served as interactions among the visitors, served as the site of a US the springboard for Kitagawa’s local communities, and the military base. The town was inspiration to organize site- artworks create a one-of-a-kind experiencing a lack of identity specific art festivals across experience that makes site- when the area was fully Japanese towns afflicted by specific art festivals not only returned to Japan in 1977. In declining population and catalyze economic activities 1992, Art Front Gallery was other social issues. Subsequent but also help nurture local selected by Japan’s Housing art festivals revitalized rural revitalization. and Urban Development 19 areas through distinctive, ART FESTIVAL IMPACTS created across the world (Soja repeated events, with each Site-specific art festivals have 2022). The process of organizing festival encompassing greater great potential to generate and delivering festivals that areas, including farmlands, economic, social, and spatial attract tourists helps to build abandoned homes, and even benefits for local communities greater social cohesion among coastal embankments. Since by enabling underserved areas local stakeholders and enables then, site-specific art festivals to attract visitors. Tourism is a the residents to establish a have been replicated across significant source of economic strong attachment to their other suburban parts of Tokyo, revenue: according to the World neighborhoods. remote island clusters, and Travel and Tourism Council, various other declining areas. The benefits of site-specific art tourism and its related activities festivals within Japanese towns account for one in 10 of all jobs include economic spillovers, spatial transformation, and social gains: PHOTO 1.3 The Last Class Source: Artwork by Christian Boltanski and Jean Kalman. Photo by T. Kuratani. Courtesy: Echigo-Tsumari Art Triennale Note: The artists created an installation at the same site they worked in 2003. It was mid-winter 2006, a winter with a record snowfall, when the artists visited the region to deepen the plan for the coming exhibition. The school stood, covered in snow and surrounded by a completely different scenery from that seen in 2003. The artists perhaps felt the reality of a community destined to be shut in deep snow for almost five months. The installation, which used the entire building, deeply and densely confined the memory of the place. Many elderly residents came to the preview held for the villagers before the official opening. They were asked to bring items related to the community or their school days. These objects rest quietly in a small space at the back of the school, farthest from the entrance. 20 Economic Benefits Spatial Transformation Social Benefits • Increase local economic • Adaptive reuse of assets • Improves livability by activity from domestic and occurs as part of the site- supporting the improvements foreign visitors’ spending. specific artwork production in local infrastructure and Even during nonfestival process, as underutilized economic growth, which, in periods, visitors continue to public facilities, abandoned turn, positively contributes to come view and enjoy the land, schools, factories, the health and well-being of permanent, site-specific warehouses, or other the residents. artworks, which helps to facilities are repurposed for sustain local economic the festival. Reuse helps • Promotes sustainability by activity. stimulate communal activity offering ongoing attractions in stagnant areas and can to the area. Site-specific • Promote market creation by promote the conservation art festivals are not one-off providing opportunities for of historical streetscapes. events; they are recurring the community to monetize Regenerated spaces can events that build upon each local crafts, cuisine, and change the perception of event and grow continuously. other cultural offerings and the area and increase civic Typically, some site-specific products. pride, strengthen community artworks become permanent cohesion, and improve public installations and continue to • Increase local employment remain in the public view. via higher demand for safety. When this occurs, the region attractions, food businesses, • Maintenance of local can be visited by tourists year- hospitality services, infrastructure and service round, even after the core transportation, and other local delivery is a secondary festival season. As a result, goods and services associated benefit, arising from the the art continues to have a with the festival. increased economic activity. positive impact on the local • Increase area Key infrastructure, such as community. competitiveness through elementary schools, hospitals, shops, and train routes, • Improves social cohesion the rise in tourism-related by directly involving the local activities that bring in new remain in operation. In the absence of revitalization, community. This sense of businesses and employment social cohesion and unity talent to the region. continued provision of education or health services continues after the initial • Attract high-value travelers in some remote, declining festival as the community and art enthusiasts, who have areas is no longer viable prepares for the next iteration. a relatively higher average and can be discontinued • Increases visibility of spending per day, and indefinitely. the region as residents therefore contribute more to interact with visitors. These the local economy. • Environmental conservation is achieved because festival interactions also help instill a artworks and activities are sense of place and civic pride highly integrated with the among the residents. local landscape or agriculture. The festival can act as a catalyst to restore the loss of biodiversity and further spotlight the natural beauty of the location. 21 ECHIGO- TSUMARI ART TRIENNALE PHOTO 2.1 Shinano River That Passes through the Echigo-Tsumari Region Source: Courtesy: Echigo-Tsumari Art Triennale 22 2 23 TERRAIN AND CLIMATE Nested in Niigata Prefecture, Niigata, meaning a place a large part of Niigata was Echigo-Tsumari is one of far from the central capital. submerged under water for the snowiest areas in Japan. The phrase “Echigo-Tsumari” some 3 million years. Echigo- Although it has been suffering was created by adding “Echigo” Tsumari receives an average from a declining and aging to “Tsumari,” the historical of 100 to 150 inches of snow, population, the area is deeply name of the place. When annually. The combination of soaked in culture and richly the project started, Echigo- the cold air from Siberia with endowed with terraced rice Tsumari comprised Tokamachi, the heat and moisture from the paddies and robust natural Kawanishi, Nakasato, Matsudai, Tsushima and the Sea of Japan beauty. Echigo-Tsumari is Matsunoyama, and Tsunan. results in heavy precipitation not a place name from the It is located on the west coast along the coasts of Honshu. past, but a term coined by of Japan. The unique terrain and Fram Kitagawa for the festival. climate of this region is further This area used to be called The distinct landscape of the highlighted by the abundance Tsumari-go, which is said to be region is a result of intense of plants and deciduous derived from “Todono-tsumari,” geological activities and trees, such as tall beech, oak, which means the deepest and tectonic shifts that occurred and maple. most snowy region of Niigata. 2 million years ago. Moreover, “Echigo” is the ancient name of MAP 2.1 Map of the areas that make up the Echigo-Tsumari region Source: Courtesy: Echigo-Tsumari Art Triennale K AWA N I S H I A REA MAT S U DA I A REA TO K A MAC H I A RE A MAT S U N OYA MA A REA TSUNAN A REA N A K ASATO A RE A PHOTO 2.2 Heavy Snowfall during Winters in Echigo-Tsumari Source: Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale 24 PHOTO 2.3 Residents Clearing Heavy Snow during Winters in Echigo-Tsumari Source: Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale BRIEF HISTORY The Echigo-Tsumari region fields, modifying the curve of a economic focus shifted to was shaped by the Jomon river to create arable land, and technology and the services period (14,000–300 BC) and digging irrigation trenches. The industries, and people in rural the Yayoi period (300 BC–AD area prospered during the Edo areas began to move into 300). The Jomon period was period (1603–1867) through cities. The textile industry, characterized by hunter- the sale of twined cloth, which was once a backbone gatherers, who achieved which began in the Jomon of the Tokamachi economy, significant cultural complexity period. In the subsequent lost its luster. With increasing as evidenced by small-scale decades, industrial production agricultural imports, local agriculture and pottery. This transitioned from hemp agricultural production was region was also shaped by production to silk farmingand largely abandoned, and young the Yayoi culture, which came then to cotton production in people fled to big cities in from the Korean peninsula the early twentieth century. search of employment. and introduced the techniques In 1960, the population of the for rice cultivation. By the end In 1945, in the wake of World towns that make up Echigo- of the sixteenth century, the War II, rural areas in Japan Tsumari was 90,555.2 As of people had developed ways that once supported the 2023, the population stood at to cultivate the landscape for growth of cities and industries about 60,000. rice farming through terraced faced steady decline. Japan’s 2 Based on the author’s calculation from the historical population statistics provided by Niigata Prefecture. 25 The original concept of the and declining agricultural to establish the characters of site-specific art festival can be industries. As a result of these the region from the residents’ traced back to the national efforts, the largest number of perspective: the four seasons government’s “Heisei merger.” mergers took place around and life in satoyama, terraced In the late 1990s, the Japanese 2005, when about 3,000 rice paddies, and heavy government launched a series municipalities were merged snowfall. From this, the basic of initiatives aimed at local into about 1,700. principle that “human beings revitalization and community are part of nature” was derived. rebuilding. These efforts With this backdrop, Kitagawa included municipal mergers for envisioned the Echigo- The second pillar was a the purpose of strengthening Tsumari Art Necklace Project, cooperative project with the the administrative and not only using site-specific participation of local residents financial base by broadening art as points of attraction, called “The Way of Flowers.” In the municipalities in but also leveraging site- the Echigo-Tsumari region, it response to the promotion specific art’s power to attract, is customary to plant flowers of decentralization. Niigata to encourage discovery, to along the road and to offer Prefecture launched the New facilitate communication, to hospitality to visitors—to cherish Niigata Risou Plan in 1994, foster learning, and to cultivate and celebrate the half year dividing its 112 municipalities connections. The project without snow. The project, led into 14 regional administrative was based on three pillars. by elderly people who love regions, each with its own To develop the concept for gardening, created a beautiful unique concept for rebuilding the project—the first pillar— exchange network connecting regional attractions and Kitagawa held a writing and the six municipalities in the involving the local residents in photography contest called greater administrative area the process, which stated that “80,000 Residents Discover by planting flowers along the prefecture would subsidize Something Unique about roads and in the yards of 60 percent of new projects Echigo-Tsumari” (Kitagawa private homes. aimed at the community- 2015). The purpose of the contest was to identify the The third pillar was the “Stage driven revitalization. The Greater Construction,” in which each Tokamachi Area, consisting of richness of the region’s nature and culture through the of the six municipalities six municipalities, was the first was asked to establish and to be designated under this perspective of the residents. The photos and writings maintain a strategic foothold, Risou Plan in 1994. In 1995, an institutional base, or stage Fram Kitagawa was invited submitted by the residents were then reviewed by a that would serve as a kind of to be part of the Risou Plan’s showroom that embodies the steering committee that was panel composed of a poet, a photographer, a designer, and characteristics of the region. tasked to find a way to revitalize this region in the face of aging an actress. This exercise helped 26 ART THAT CONNECTS PEOPLE TO PLACES PHOTO 2.4 Les Regards Source: Artwork by Christian Boltanski. Photo by Keizo KiokuCourtesy: Echigo-tsumari Note: The existence and disappearance of people was a strong theme in Boltanski’s artwork. In this work, Boltanski took black-and-white photographs of the faces of the residents and printed them on netted cloths. These prints were displayed in a cedar forest, providing an example of a project illustrating the importance of resident cooperation in the artwork production. 27 PHOTO 2.5 The Rice Fields Source: Artwork by Ilya and Emilia Kabakov. Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale In Echigo-Tsumari, there are Triennale, was conceived in rice fields, Kabakov conceived no conventional gallery spaces, spring 1999 when Kitagawa the idea of creating sculpted and even the art creation invited artist Ilya Kabakov cutouts of farmers working the process is unconventional. to come to Echigo-Tsumari. rice terraces. Through this work, When an artist decides to Kabakov was born in Dnipro, Kabokov expressed his deep create a project as part of Ukraine, under the Soviet respect for the hardships of the festival, the artist needs Union, and later he emigrated farming in this snowy area. The to obtain the necessary from Russia to the United cutouts created by Kabakov permissions related to the States. Although Kitagawa and (photo 2.6) narrated the process location. This could involve Kabakov visited many places of rice production, including obtaining the consent of in the region, Kabakov was tilling, seeding, planting, landowners or owners of not able to find a place for his mowing, harvesting, and the abandoned properties. project. Fortunately, while they selling of goods. Fukushima Obtaining consent goes far were waiting for the Hokuhoku was eventually won over by beyond an administrative train, Kabakov was suddenly Kabakov’s respect for the procedure—the artist also struck with awe at the sight of history of the land and the needs to win the trust and the terraced rice fields that he challenges faced by the local cooperation of the residents. saw from Matusdai station. farming community. Initially, many residents were The site that Kabakov Along with Kabakov’s work, strongly opposed to the identified for his project was visitors to the art festival idea of artists and outsiders private land that belonged celebrated the terraced rice coming to create artworks in to Tomoki Fukushima. At paddies that have been their daily living spaces and the time, Fukushima had maintained by Fukushima’s altering the landscape. But suffered a severe injury, had labor. Fukushima continued through community meetings, no successor, and planned to farm for six years after consultations, and with the to retire from farming. Yet, the first festival. And today, help of Fram Kitagawa and his Fukushima was reluctant to Kabakov’s art continues to team, the artists were able to collaborate with Kabakov and stand as a symbol of the convince the residents to stage lend his land to Kabakov’s region’s agricultural history and artworks in the local landscape, art project To Fukushima, farming culture. The Rice Fields which often included sites on the land represented the illustrates that community private land. history of his ancestors and participation and cooperation is had sentimental value and required not only in producing The creation of The Rice Fields, symbolized endurance, given the artwork, but also in one of the most iconic works the backbreaking nature of maintaining the art. of the Echigo-Tsumari Art farming in this snowy region. While studying the terraced 28 PHOTO 2.6 Note: Illya and Emilia Kabakov’s The Rice Fields, Visitors Walking up The Rice Fields displayed on plots of land that are still used, is a Source: Photo by Osamu Nakamura. work that highlights the agricultural history and Courtesy: Echigo-Tsumari Art Triennale the complexities involved in rice production. 29 ART THAT CONNECTS PEOPLE TO MEMORIES As a result of the declining The Sanada Elementary School the remaining items that he population, many buildings (photo 2.7) is located in a found on the school campus. in the Echigo-Tsumari area, mountainous area in the center Using these objects, Tashima including houses and schools, of Tokamachi City. The locals went on to create life-sized were abandoned and closed. desired the elementary school representations of the things While homes house individual to remain in use, so Kitagawa that appear in his children’s memories, schools represent invited Seizo Tashima, a painter books, and representations of spaces of collective memory. who has published numerous the last three students at the Although the closing of schools best-selling children’s books, school (photo 2.9). was expected by local residents, to develop the artwork. they nonetheless maintained Compared with other projects, During the production process, a strong desire for school filling an empty house or an former students from Sanada buildings to remain open and empty school can be relatively Elementary School helped be used somehow. This was an challenging for artists, because with the construction and aspiration that the art festival it is not the conventional, installation of the artworks. worked to address. neutral, white canvas they Now, the school is not only a typically use. Instead, it pushes space for exhibition, but also In response, as part of the artist to work with what is a space for gathering, with a the festival design, using already there and to preserve café, a picture book library, abandoned schools was the marks of life left by the workshop rooms, and an events established as a part of the previous occupants. space. While the school is not revitalizing mission. One of the filled with classes, it continues early works from the festival, Despite the challenges, to hold cherished memories “The Hachi and Seizo Tashima Tashima conceived of the idea and welcomes visitors to make Museum of Picture Book Art,” of creating artworks using new ones. was one of the projects that driftwood and nuts that he had repurposed abandoned schools. collected from beaches and PHOTO 2.7 The Former Sanada Elementary School Source: Photo by Ayumi Yanagi Courtesy: Echigo-Tsumari Art Triennale 30 PHOTO 2.8 Depictions of Children’s Colorful “Hopes” and “Dreams” at the Former Sanada Elementary School Source: Artwork by Seizo Tashima. Photo by Takenori Miyamoto and Hiromi Seno Courtesy: Echigo-Tsumari Art Triennale PHOTO 2.9 Depictions of Three Students Made from Driftwood at the Former Sanada Elementary School Source: Artwork by Seizo Tashima. Photo by Takenori Miyamoto and Hiromi Seno Courtesy: Echigo-Tsumari Art Triennale 31 BEYOND ART, A FESTIVAL THAT CONNECTS PEOPLE TO PEOPLE Food is an important farmhouse was renovated in House incorporates the component of any festival, and collaboration with top ceramic wild mountain plants and it is an organic (and delicious!) artists and repurposed to vegetables that are found way to experience another be a pottery exhibit and a locally (photos 2.13 and 2.14). culture. The ingredients and restaurant serving local dishes. The desire to connect local the methods used to prepare Visitors have the option to residents with visitors led to the meals are all reflective of a local stay overnight at the Ubusuna idea of the restaurant. One of culture. House to experience local the representatives working at hospitality and the surrounding Ubusuna House expressed that The Ubusuna House, a nature (photos 2.10 and 2.11). serving local cuisine to visitors farmhouse built in 1924, was allowed her to better connect severely damaged by the To celebrate and reflect the with local culture and gave her Chuetsu Great Earthquake agricultural history of the a sense of pride. in 2004. As part of the region, the menu at Ubusuna preparations for a festival, the PHOTO 2.10 Staff Members Pose in Front of the Ubusuna House Source: Photo by Ayumi Yanagi Courtesy: Echigo-Tsumari Art Triennale 32 PHOTO 2.11 The Repurposed Ubusuna House Offers Overnight Accommodations for Visitors Source: Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale PHOTO 2.12 Patrons Enjoy a Meal at the Ubusuna House Restaurant Source: Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale 33 PHOTO 2.13 Local Cuisine Served at the Ubusuna House Restaurant Source: Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale PHOTO 2.14 Ubusuna House Exhibit Kamado Stove Source: Artwork by Goro Suzuki. Photo by Osamu Nakamura. Courtesy: Echigo-Tsumari Art Triennale 34 FUNDING AND IMPACT The first three iterations private sponsorships, and even. For 10 years, starting from of the Echigo-Tsumari Art governmental subsidies. 1997, ETAT received prefectural Triennale (ETAT), held between financial support as part of the 1997 and 2006, were mainly Similar to starting a new New Niigata Risou Plan. budgeted by Niigata Prefecture business, site-specific art and the participating local festivals require upfront To demonstrate, the cashflow governments, namely, investments to plan chart from the 2009 Echigo- the cities of Tokamachi, and execute the festival. Tsumari Art Festival (table Kawanishi, Nakasato, Matsudai, The majority of the cost 2.1) presents the revenue, Matsunoyama, and Tsunan. The is associated with the operational cost, and net remaining costs were covered construction of the art balance. The revenues come by passport (ticket) sales and exhibitions—expenses related to in the form of municipal sponsorships. In 2005, the six constructing stages for artworks government subsidies, municipalities were merged, to and installing or displaying donation, ticket sales, festival become the cities of Tokamachi site-specific artworks. After passport sales, and community and Tsunan. More recently, ETAT the initial investments, the revitalization grants. The received the financial support monetary considerations for operational costs comprise of the Agency of Culture of the the subsequent iterations of subcontracting fees for national government. Currently, the art festivals center on the operation and maintenance, the budget is funded by the sustainable operation of the facility usage fees, museum Tokamachi and Tsunan local festival, in which the festival development, event-related governments, sales of tickets, should, at a minimum, break fees, and other administrative costs (table 2.2). Table 2.1 Cashflow Chart from the 2009 Echigo-Tsumari Art Triennale Sources of Funds (in thousands of JPY) ITEMS FY2007 FY2008 FY2009 TOTAL City / Town Tokamachi City 31,036 24,172 7,801 63,009 Tsunan City 4,182 4,182 6,913 15,277 Donation and 89,088 57,394 94,771 241,252 sponsorships Subsidies 997 62,272 61,399 123,668 Admission - - 89,936 89,936 passport sales Other income Regional - - 25,000 25,000 revitalization grant fund Regional affairs 19,500 - - 19,500 association grant Miscellaneous - 281 3,190 3,471 income (printed materials, sales commission) Total 144,803 147,301 289,010 581,114 35 Use of Funds (in thousands of JPY) ITEMS FY2007 FY2008 FY2009 TOTAL Business Operation, 75,282 132,110 299,067 506,459 expenses maintenance, development costs Director 5,000 5,000 10,000 20,000 Facility usage fee Passport - - 30,000 30,000 admission rebate Grants Museum subsidies - 10,000 8,000 18,000 Administrative 1,657 1,462 3,599 6,718 expenses Total 81,939 148,572 350,666 581,177 Net Revenue (in thousands of JPY) ITEMS FY2007 FY2008 FY2009 TOTAL Annual Balance 62,864 (1,271) (61,656) (63) Echigo-Tsumari Accumulation 62,864 700 - 63,564 Art Triennale Transferred - 1,971 61,656 63,627 Fund balance Net Balance 0 0 0 0 Table 2.2 Costs and Fees Associated with the Echigo-Tsumari Art Triennale, 1997–2022 PREPARATION PERIODS YEAR NO. OF VISITORS REVENUE OPERATIONAL NET BALANCE COST 1997–2000 2000 162,800 549,896 549,896 0 2001–2003 2003 205,100 976,484 976,484 0 2004–2006 2006 348,997 670,399 654,122 16,277 2009–2009 2009 375,311 581,114 581,177 (63) 2010–2012 2012 488,848 489,034 478,597 10,437 2013–2015 2015 510,690 624,203 623,657 546 2016–2018 2018 548,380 669,720 661,900 7,820 2019–2022 2022 574,138 Source: Compiled from the Echigo-Tsumari Art Triennale Summary Reports Note: Economic numbers presented in thousands of Japanese yen. 36 ECONOMIC RIPPLE EFFECTS The Echigo-Tsumari effects are calculated by visitor The benefits of local Comprehensive Report presents spending related to the art revitalization are not realized the primary and secondary festival, such as spending on car overnight. However, the economic effects derived rentals, lodging, gas stations, continuation of the Echigo- from each iteration of the local restaurant sales, and Tsumari Triennale, which festival. The primary economic so on. The economic effects embarked on its ninth iteration effects are calculated by direct produced from the art festivals in 2024, shows the strength spending related to the festival. are summarized below in Table and longevity of this festival— The secondary economic 2.3 and Table 2.4. and the role of festivals in supporting local revitalization. Table 2.3 Festival Budget and Economic Effects Produced from the First Two Art Triennales, 1996–2003 CONSUMPTION CONSTRUCTION- TOTAL PREPARATION NO. OF FESTIVAL INDUCED YEAR INDUCED RIPPLE ECONOMIC PERIODS VISITORS BUDGET ECONOMIC EFFECT EFFECT RIPPLEEFFECT 1996–2000 2000 162,800 479,613 10,054 2,704 12,758 2001–2003 2003 205,100 426,588 13,190 5,650 18,840 Source: Data collected by Tokamachi city government. Note: Economic numbers presented in millions of Japanese yen. The methodology in calculating the economic effect was modified after the second Echigo-Tsumari Art Triennale. Table 2.4 Economic Effects of the Echigo-Tsumari Art Triennale 1997–2022 PREPARATION PRIMARY ECONOMIC SECONDARY GROSS ECONOMIC YEAR PERIODS EFFECT ECONOMIC EFFECT EFFECT 1997–2000 2000 - - - 2001–2003 2003 - - - 2004–2006 2006 4,927 754 5,681 2009–2009 2009 3,097 464 3,560 2010–012 2012 4,030 620 4,650 2013–2015 2015 4,350 740 5,089 2016–2018 2018 5,625 903 6,528 2019–2022 2022 1,775 1,096 8,262 Source: Compiled from the Echigo-Tsumari Art Triennale Summary Reports Note: Economic numbers presented in millions of Japanese yen. 37 THE PROCESS OF DESIGNING A COMMUNITY-DRIVEN, SITE-SPECIFIC ART FESTIVAL PHOTO 3.1 Volunteers at the Matsudai Rice Terrace Source: Photo by Noriko Yoneyama. Courtesy: Echigo-Tsumari Art Triennale 38 3 39 CONCEPT DEVELOPMENT This section presents the PRELIMINARY STUDY of the natural landscape and organization and development Every community-driven, site- vegetation, but also helps of site-specific art festivals. specific festival begins with establish a socioeconomic Of the various steps involved, developing a concept that profile of the residents, the first stage of concept articulates a shared vision, providing insights into current development is the most which elevates the branding challenges and mindsets. In important as it sets the overall of the festival and provides the beginning, the regions theme and determines the a structure for promotional of interest can be broad, scale of the festival, enabling activities. Site-specific art encompassing multiple towns the organization to move festivals are founded on the and villages. on to the preparation and characteristics of a place, implementation stages. The key concept for Echigo- therefore, the festival concept Therefore, this section details Tsumari is that “human beings is linked to those same, the specific steps required in are part of nature.” The theme, unique elements. Concept developing a festival concept which permeates the festival, development starts with and highlights key factors to is illustrative of the relationship a preliminary study of the consider in this creative process. between the residents and the region of interest to develop natural environment—in taming an understanding of the These actionable steps and key the landscape for rice farming, local culture, demographics, considerations, illustrated in installing the artworks to economy, geography, and figure 3.1, have been distilled spotlight the distinct landscape, history. This research should from Fram Kitagawa’s extensive and selling food prepared with also take note of local experience3 in organizing art local ingredients (such as sake, landmarks and creative assets. festivals across Japan. pickled vegetables, local spices, The study not only helps and locally grown rice). develop a topographic profile Figure 3.1 The Three Focus Areas for Developing Site-Specific Art Festivals Concept Development Planning Implementation and • Preliminary study • Information briefings Post-Event Maintenance • Site identification and analysis • Budget setting • Logistics and operation • Site selection • Local implementation team • Festival evaluation • Artist selection • Artwork maintenance • Festival promotion Source: World Bank The art festivals directed by Fram Kitagawa include the Echigo-Tsumari Art Festival, Osaka, Ibaragi, Ichihara 3 Art x Mix, Setouchi International Art Triennale, Oku-noto, and Shinano-Omachi Northern Alps Art Festival. 40 SITE SELECTION—FROM REGIONS TO SPECIFIC PLACES The preliminary study yields as a core member of the To realize the vision of the art a long list of potential towns, immediate community and director and to implement villages, or other areas that have helps gauge the interest of the production of artworks, the potential to determine the the community in hosting the festival art coordinators festival concept and support an art festival. Local leaders work with local leaders to the production of site-specific are highly aware of the local remove various obstacles and art. Then the real work begins: history, culture, and common to resolve any conflicts. The narrowing down the list to a perils of the community. Such art coordinators endeavor few specific areas and selecting leaders can be instrumental to resolve institutional and the ideal location. The following in communicating to the budgetary matters, and the factors are typically considered residents that a site-specific local leaders encourage the in the development and art festival is something community to accept the work organization of art festivals. constructive and worthy of and cooperate in its production. pursuing as a community. In developing rapport for the 1. IDENTIFICATION Identifying a local champion OF LOCAL LEADERS— who is accepting of and art festival idea, Kitagawa had CATALYZING enthusiastic about the festival more than 2,000 meetings over COMMUNITY INTEREST concept can help build trust a three-year span to convince with the festival organizers— as people and gain support for the A critical element in choosing well as the overall community— idea of an art festival. Kitagawa the festival location is the as it can be difficult for received his first breakthrough identification of a local residents to envision the festival at a municipalities meeting, leader who is interested and from the beginning. when some officials were supportive of revitalization convinced and wanted to try that uses innovative solutions, The critical role of the local out Kitagawa’s idea (Kitagawa such as art. The curiosity and leader is felt through the entire 2015, 16). commitment of a local leader process of conceptualizing, who supports the use of art Kitagawa also received preparing, and implementing to revitalize an area can help permission from the mayors the festival. Because there mobilize community members of Matsudai and Matsuyama is extensive coordination and initiate community to make site-specific art. Last, required among the residents, consultations, meetings, or the enthusiasm of the young artists, festival staff, and other workshops. Local leaders can volunteers and participating stakeholders, it is important be public figures (such as artists helped to win over to have a local champion who governors or mayors), or they the residents who initially can catalyze the community can be community-based expressed concerns about the for the collective good. The actors (such as town leaders or festival. Figure 3.2 illustrates the local leader can also serve as council members). hierarchy of participants. the point of contact in setting Although the request to up community consultations hold the art festival is not or disseminating information made directly to a local about planned work related to leader, this individual serves the festival organization. 41 Figure 3.2 Organizational Flowchart for a Site-Specific Art Festival Local governments Organizing committee Local companies and organizations Local stakeholders Tourism associations Art production Administration Hotels Art director Transportation Coordinators Restaurants Local leaders Production Artists Volunteers Residents Administration team staff Source: Art Front Gallery Notes: The art coordinator is responsible for managing the production team that is in charge of artists, artworks, and events. Administration consists of staff members from local municipalities who work with the residents and the production team in implementing the festival. 2. AWAKENING COMMUNITY artists to inspire their work and are opportunities to hear and INTEREST—BUILDING to create something that also respond to the voices of the COMMUNITY SUPPORT resonates with the residents, residents, including what Site-specific artworks are such as artwork that narrate they find to be beautiful or produced to be reflective of the realities of agriculture or interesting about their town the surrounding environment. declining population. and its history and challenges. Given this unique feature of These meetings help build Building community support an understanding among site-specific artworks, artists is done in a structured way the stakeholders and help find it highly meaningful and through a series of town hall organizers gauge residents’ conducive to gain direct input meetings and community reactions about hosting an from the local community, consultations that present art festival. in the form of interviews the concept of the festival or informal chats, as they and show the results from Providing opportunities for the produce their work. Capturing previous festivals. The initial residents to voice their opinions the essence of the region is meetings with the residents and ideas about the prospect imperative for the participating 42 of organizing a festival is the 3. ANALYSIS OF LOCAL 4. ASSESSING LOCAL key to activating community CREATIVE ASSETS— INFRASTRUCTURE interest and to gaining CREATIVE FRAMING Not only is infrastructure community commitment. OF CULTURAL AND important for festival-driven Learning that the objective of NATURAL HERITAGE activities, but also it is an the art festival is to support and Creative assets broadly refer to essential part of maintaining improve the area as a whole heritage assets, which can be services to local residents. can evoke a sense of collective either tangible or intangible. In studying potential sites, responsibility and pride that Tangible assets include human it is important to assess helps create momentum and cultural heritage (such as each area’s accessibility, approval for the concept. monuments, churches, temples, accommodation, and other shrines, and historical buildings), amenities. Site-specific art Informational presentations and natural heritage (such festivals are typically held in can be followed by open as mountains, waterfalls, and remote areas that are difficult brainstorming sessions with other landscapes). Intangible to access, so it is important the residents to gain additional assets include music, literature, to identify the gaps in the insights on potential sites or to dances, and local foods. current infrastructure, such obtain ideas for activities that as lack of signage, infrequent can contribute to the festival, Not only are site-specific trains, few connections from such as preparation of local artworks shaped by the local major stations, absence of delicacies, setting up food environment, when displayed, hotels, and so forth. Such stalls, organizing traditional they further highlight the assessment helps determine dances, and so forth. During aesthetics of the local the required resources in these interactions with the landscape. Analyzing the preparation for the festival. residents, it is important for creative assets of a site can However, it is important that organizers to demonstrate help narrow the long list of new development does not that the festival is completed potential sites. overshadow the significance through the participation of Given that the objective of the area’s original heritage. the residents, even though of site-specific art festivals While it is important to the initial ideas of the festival is local revitalization, the nurture development in the originated externally. analysis should take note of regions as part of the festival Measuring the strength of underutilized assets, such as offering and experiences, the community is highly abandoned land and buildings, it is equally important to subjective, but there are some homes, schools, and rail tracks, consider how these new recognizable characteristics, which can be reused to house developments may affect such as the presence of civic site-specific art. The analysis the region and communities grassroot organizations, regular helps to shed light on the over time. The site-specific art community meetings, or following questions: festival is structured in a way involvement of community that encourages visitors to networks, which point to a • How do the tangible and travel slowly as they go from higher level of community intangible assets tell the story one site-specific art piece activism. The community’s and history of the region? to the next, and while they potential level of participation use the infrequent service of • What is unique or different can also be measured public transportation in these about the local lifestyle that during the organization of remote areas. can be spotlighted? festival-related community consultations by noting The information obtained from the turnout at town halls or this analysis can later be shared how readily residents share with artists in the production of their opinions. their site-specific art. 43 PLANNING INFORMATIONAL BRIEFINGS local community members, and by income from ticket sales AND TOWN HALLS with all the festival organizers and sponsorships. As the The informational briefings in developing the art, installing festival matures with greater and town halls held during the the artworks, organizing recognition after several concept development process festival-related activities (like iterations, the source of complement the preliminary performances or local food funding becomes more varied, study of the region of interest. stalls), installing signage, and can include corporate Ideally, these informational promoting the festival, and advertisements, company town halls are organized by the other preparations. sponsorships, nonprofit grants, local champion who already and other sources. has a relationship with the INITIAL INVESTMENT residents. The objective of One of the most decisive points ORGANIZATION OF LOCAL the town hall is to introduce for the festival is determining IMPLEMENTATION TEAM the concept of the festival various parameters such It is said that many hands and share the impacts that as dates, the location, the make light work. Concept the festival can bring to the size, and financial planning. development and art neighborhood and the town. It Budgeting allows the festival production are led by artists also provides the opportunity organizers, such as the art and the festival organizer, but to build consensus around the director, art coordinator, and delivering the festival requires organization of the festival. the local champion, to clearly significant coordination of define the scope and scale many other stakeholders and Initial suspicions and reluctance of the art festival. A budget community members. The about the art festival may that clearly outlines the cost role of the implementation be natural, as many of the items helps build trust with team is to provide logistic residents and local stakeholders stakeholders and raise the and administrative support. will be unfamiliar with this initial investment, which may Typically, the implementation concept. It is important to share be in the form of government team is composed of festival the positive outcomes from the subsidies, contributions, and staff (including art coordinators) previous festivals and clearly donations. The size of the and volunteers (see box 3.1). outline likely engagement and budget depends on several requests, such as installation Staff act as guides to the factors, such as the number of site-specific artworks or participating artists. Sometimes of artworks to be created, the allowing artists to interview accompanied by local number of participating artists, residents to gain a better government staff, they take the research expenses, number understanding of the local artists around various towns of exhibition sites, and the culture. and sites before the artist cost of artwork materials and decides on the location for the Once the long list of potential installations. Based on the size artwork. The staff also help in sites has been narrowed of the initial investment, a road finding housing for foreign and down, the implementation map can be specified for the domestic artists who want to of the festival starts with work that needs to be carried live in the area while making working with the artists in the out along with a timeline their artwork. In addition, production of the artwork. from the planning stage to volunteers assist the artists in The concept provides an preparation and to the final the production process leading analytical foundation with an delivery of the festival. up to the festival. overarching narrative for the In the early phase of a site- festival. The implementation During the festival season, specific art festival, the sources phase translates these visions volunteers help in ticketing, of funding are typically based into practice by working closely receiving visitors, and providing on the local government with the participating artists, group tours to visitors. These budget, which is supplemented 44 volunteers have learned about that were used as sites for local delicacies and products, the artworks, installations, and artworks and no longer have operating accommodations the region. owners to manage them. The and restaurants. They work in Matsudai Rice Terrace Bank co-operation with local people, For example, Kohebitai is a organizes farming experience artists, kobebi volunteers. volunteer group that provides activities with visitors. It also support to the ETAT. During the maintains the rice fields—the SELECTING PARTICIPATING festival season, kohebitai plays bank has the largest area of ARTISTS many roles in introducing the rice terraces in Japan— by A defining moment in the artworks, acting as local guides, asking volunteers to help cut implementation of the festival helping with the preparation of the grass and plant and harvest concept is the selection of the food, managing event venues, the rice (photo 3.1). People artists that create the site- and other support. During the can also register to become a specific artworks, which are the festival’s offseason, Koebitai member of rice banks, such most visible component of the conducts maintenance on as the Matsudai Tanada Bank, festival. Typically, participating the artworks and helps guide and participate in agricultural artists are expected to have visitors who come during events throughout the year.4 originality and create works the offseason. During the based on their own intuition festival’s regular season, ETAT According to Kitagawa, and physiology to perceive the is supported by 800 volunteers; volunteers make up a world and society. These artists during the offseason, it is significant portion of the are engaged in contemporary supported by 100 volunteers. festival experience. They remind art and use diverse art visitors that site-specific art In the early days, volunteers expressions to respond to social festivals support and represent from outside of the community issues. Hence, many of them local communities as well were the core of the operation, want to understand the local support the revitalization of a but over time, residents have context and are willing to work declining region. taken on this role. Today, with the locals to create site- residents are responsible for In 2008, NPO Echigo-Tsumari specific art. much of the management and Satoyama Collaborative guidance, and volunteers from Organization was established FESTIVAL PROMOTION outside the community support for running artworks and Once the theme of the festival the residents. In the process facilities born from Echigo- is set, it is important to decide of serving guests, residents Tsumari Art Triennale on a title of the festival along develop their own ways of throughout the years. Staff with other visuals to promote hospitality, having learned members consist of both those the event. It is recommended about the artworks on their who are originally from the to hire a designer who can own initiative. region and moving from other work on the promotional parts of Japan. Their activities materials, including the design During nonfestival periods, include not only administrating of the festival posters, tickets, volunteers provide tours for the festival once every three festival website, and other smaller groups and they years but also maintenance collateral items. The promotion maintain the permanent of artworks in between years of the festival should leverage artworks. As part of that of the festival, presenting the wide reach of the relevant maintenance, the Matsudai special exhibitions, events organizations in the region, Rice Terrace Bank was and workshop, engaging with such as the local tourism established in 2003. The rice production, welcoming agencies or the ministry of Matsudai Rice Terrace Bank visitors on guided tours, selling tourism at the national level. cares for many of the rice fields For more information about the Matsudai Tanada Bank, see the Matsudai Nobutai Field Museum website at https:// 4 matsudai-nohbutai-fieldmuseum.jp/bank/. 45 PHOTO 3.2 Volunteers Planting Rice Source: Photo by Noriko Yoneyama Courtesy: Echigo-Tsumari Art Triennale 46 IMPLEMENTATION AND POST-EVENT MAINTENANCE LOGISTICS AND OPERATION Once the staffing and training a documentary book that The implementation of the needs are planned, the festival contains all artworks, events, festival will depend on the organizers can consider data, and texts after the festival. coordination among the staff the festival period and the Such an archive is extremely operating the festival. Strong number of tours that can be helpful in accumulating coordination and smooth delivered each day. The details experiences and continuing operation of the festival of the tours can also include the art festival. As some of the require the staff to be trained performances and workshops. artworks are replaced with new in managing the festival and ones, archiving helps keep a hosting visitors. The training FESTIVAL EVALUATION record of previous artworks. can include information on AND ARCHIVING safety procedures, visitor As each site-specific art festival ARTWORK MAINTENANCE management, ticketing, builds upon previous festivals, Following the end of the visitor engagement, conflict collecting visitor feedback festival, site-specific artworks management, and knowledge from each festival is vital. The can be viewed year round. about the festival artworks. responses and combined This means that permanent Site-specific art festivals are results serve as input in installations need a minimum delivered with the help of planning for the next festival. number of staff to help the local communities and The survey can ask questions with ticketing, providing volunteers. Festival staff not only about the festival tours, and maintaining the can design training and experience, but also about how artworks. Certain site-specific informational materials for the visitors learned about the artworks are accommodated the community members festival and logistics’ aspects. inside repurposed schools and volunteers to address The answers to these questions or houses, which requires various roles and activities inform future operations facility maintenance, cleaning, such as guiding and cooking and provide insights into operating of indoor cafes, and local meals. opportunities for improvement. so forth. It is also important to publish 47 MINICASES OF SITE-SPECIFIC ART FESTIVALS IN JAPAN PHOTO 4.1 View of the Seto Islands Source: Photo by Shintaro Miyawaki. Courtesy: Setouchi Triennale 48 4 49 B ecause of the success and longevity of the Echigo-Tsumari Art Festival, the festival has become a model of local revitalization that has been adopted by other regions in Japan. This section briefly introduces the site-specific art festivals of different geographic scales in Japan; each festival is community-driven and integrates local nuances that are reflected in the site-specific artworks. The various sites also share the common challenges of an aging population and economic decline. The following minicases illustrate some of the common traits of site-specific art festivals. CASE 1: SETOUCHI TRIENNALE PHOTO 4.2 View of Cruise Ships in Seto Island Source: Photo by Osamu Nakamura. Courtesy: Setouchi Triennale 50 The Setouchi Triennale first The Setouchi Triennale has away with his vision still took place in 2010 across seven its origins in the Naoshima unrealized, Soichiro Fukutake, islands and two ports located in International Campsite, which the founder’s son and successor the Seto Inland Sea. Historically, opened in 1989 with the desire to Fukutake Publishing, proved this region served as a vital of then Mayor Chikatsugu eager to continue the vision trade route. However, in the Miyake and Tetsuhiko Fukutake, of revitalizing the Seto islands process of modernization, the the founder of Fukutake through sustainable tourism islands have been divided and Publishing (precursor to the (Kasahara 2019). burdened with a negative Benesse Corporation), to create legacy: Naoshima and Inujima a place where children from Embodying the values of became refineries, Teshima around the world could gather the Benesse Corporation, an became an illegal dumping on an island in the Seto Inland educational company, Soichiro ground for industrial waste, Sea. The mayor wanted to presented the “Naoshima and Oshima Island became the promote sustainable tourism Cultural Village” concept, which site of an isolated sanatorium using nature and cultural aimed to develop Naoshima as under government policy. With assets rather than through an educational place of nature the theme “restoration of the the construction of large-scale and culture, by protecting the sea,” the Setouchi Triennale resorts, which were common islands’ natural beauty and aims at revitalizing the region in other tourist destinations revitalizing the community to through art. (OECD 2014, 132). When preserve the culture. Tetuhiko Fukutake passed MAP 4.1 Seto Inland Sea Source: Courtesy: Setouchi Triennale 51 Soichiro launched Benesse across various locations questioned the initial efforts Art Site Naoshima, an art throughout Naoshima. The of creative regeneration, over activity on Naoshima and other Benesse Corporation also time, they fully supported islands in the Seto Inland Sea. started to rent or purchase the revitalization efforts and First, Soichiro opened the abandoned houses and land even assisted artists in making Benesse House Museum, which to turn these unused spaces site-specific artworks. Knitting included a hotel designed into artworks. The process of the Sky is a good example by Tadao Ando. In 1996, the commissioning site-specific of local residents supporting Benesse Art Site Naoshima artworks allowed the residents and participating in the site- started to commission artists to build a relationship with the specific artworks (photos 4.3, to create site-specific artworks artworks. Although residents and 4.4). PHOTO 4.3 Sora-Ami: Knitting the Sky Source: Artwork by Yasuaki Igarashi. Photo by Yasushi Ichikawa. Courtesy: Setouchi Triennale 52 Soichiro realized it would take Kagawa Prefecture to host general director and, in 2007, more than the efforts of a the art festival and requested they announced the launch of single company to sustainably that Kitagawa collaborate. the Setouchi Triennale. With scale art-driven revitalization Meanwhile, after witnessing the this backdrop, the Setouchi across the Seto islands. After revitalization in Naoshima with Triennale was conceived on conceiving the vision and art, the Kagawa prefectural the theme of restoring the seas observing the effects produced government also wanted to and revitalizing the islands, by the Echigo-Tsumari Art organize an art festival on which were suffering from Triennale in 2003, he thought multiple islands and visited environmental challenges, municipalities needed to be Echigo-Tsuamari Art Triennale. aging population, and a involved. Soichiro called on They invited Fram Kitagawa as declining number of residents. PHOTO 4.4 Residents Taking Part in the Knitting of “Sora-Ami: Knitting the Sky” Source: Photo by Shintaro Miyawaki. Courtesy: Setouchi Triennale 53 Many artists used the abandoned houses and warehouses to make their artworks. For example, an abandoned warehouse was transformed into a PHOTO 4.5 small theatre (photo 4.5 Exterior of the Island Theatre Megi and 4.6). Shima Kitchen is Source: Artwork by Yoichiro Yoda. Photo by Yasushi IchikawaCourtesy: Setouchi Triennale another example where an abandoned house was turned into a restaurant by architect Ryo Abe during the Setouchi Triennale in 2010. Shima Kitchen is not only helps to connect visitors to the local culture, but it organizes monthly meals and other community events for the local residents. Another interesting example is the Onba Factory in Ogijima. Artist Yoshifumi Oshima, who grew up in Seto Islands, creates artsy carts called “onba” that can be used by the residents. Oshima also runs onba workshops, where visitors can experience making their own onba. PHOTO 4.6 Interior of the Island Theatre Megi Source: Artwork by Yoichiro Yoda. Photo by Shintaro Miyawaki. Photo: Setouchi Triennale Note: An existing warehouse on the island of Megijima was transformed into the Island Theatre Megi, a movie theater. 54 PHOTO 4.7 Shima Kitchen Source: Artwork by Ryo Abe. Photo by Kimito Takahashi. Courtesy: Setouchi Triennale PHOTO 4.8 Inside Shima Kitchen Source: Photo by Kimito Takahashi. Courtesy: Setouchi Triennale. 55 PHOTO 4.9 Different Types of Onbas Source: Artwork by ONBA FACTORY. Photo by Osamu Nakamura. Courtesy: Setouchi Triennale PHOTO 4.10 A Local Resident Using an Onba to Carry Things Source: Photo by Osamu Nakamura. Courtesy: Setouchi Triennale 56 FUNDING AND IMPACT corporate social responsibility 2010 generated an economic The Setouchi Treinnale was first initiatives beyond promoting ripple effect of ¥11 billion funded by Kagawa Prefecture their own brands. (equivalent to US$127 million), and local municipalities, which increased to ¥18 billion Having completed five in the fourth Triennale in 2019 such as Takamatsu City, and iterations, the Setouchi (OECD 2014, 24). And since the Fukutake Foundation, Triennale has had a widely 2010, the number of visitors to which was created by recognized effect within Japan Setouchi Triennale has grown Soichiro Fukutake, who was and across the international steadily. Concerning social the president of Benesse art community. The fourth outcomes, the net number of Corporation at that time. Setouchi Triennale in 2019 had immigrants has increased, and After the initial success of nearly 1.2 million visitors, 23 a public school was reopened the Setouchi Triennale, the percent of which were from on Ogijima Island. In 2004, festival raised funds and abroad, in a span of 107 days. there were no restaurants in the sponsorships from a wide range Table 3.1 details the primary Honmura district in Naoshima, of corporations. The Setouchi and secondary economic but by 2012, there were about Triennale, now a world- effects of the Setouchi 50 new restaurants and inns acclaimed festival not limited Triennale from 2010–19. to meet the growing tourist to tourists and art-lovers, is also a vehicle for private companies According to the Takamatsu demand (OECD 2014, 131). to participate as part of their branch of the Bank of Japan, the first Setouchi Triennale in Table 4.1 Primary and Secondary Economic Effects of the Setouchi Triennale, 2010–19 ITERATION YEAR NO. OF FESTIVAL PRIMARY SECONDARY TOTAL VISITORS BUDGET ECONOMIC ECONOMIC ECONOMIC EFFECT EFFECT EFFECT 1st 2010 938,000 653,000 - - 11,000,000 2nd 2013 1,070,000 1,026,000 13,190,000 2,600,000 13,200,000 3rd 2016 1,048,050 1,276,000 4,927,000 2,400,000 13,900,000 4th 2019 1,178,484 1,225,000 3,097,000 3,100,000 18,000,000 Source: Setouchi Triennale Executive Committee. 57 CASE 2: ICHIHARA ART X MIX Located in Ichihara City of the satoyama environment In 2024, as a commemorative Chiba Prefecture, Ichihara in the south of the city with event for Chiba Prefecture’s Art x Mix was first held in 2014. the Kominato railway (photo 150th anniversary, Ichihara Situated an hour away from 4.9), which was facing low Art x Mix was expanded as Tokyo by car, the festival began ridership as the region suffered the “Uchiboso Art Festival” in in the setting of “satoyama,” from a gradual population a collaboration of five cities which denotes the rural area decline. The Kominato rail line along the Tokyo Bay coast: between the city and the includes 17 stations that have Ichihara, Kisarazu, Sodegaura, mountains. The northern part been readapted to become Kimitsu, and Futts. While of Ichihara City is a commuter exhibition areas (photo 4.10) Chiba Prefecture is rich in town and an industrial area where visitors can hop on and agriculture and fisheries, it is with a large population off the Kominato trolley train also home to Japan’s second- concentrated in the city center, to see the various displayed largest industrial area. Artists while the southern part of the artworks. In addition to the created works featuring the city is an agricultural area that Kominato rail line, the festival history of Chiba’s transition has been depopulated. The consists of nine different areas; from agriculture and fishing Art x Mix was launched each area reuses underutilized to industry during its rapid with the main objective of assets, such as closed schools, economic growth, and the revitalizing this southern area. abandoned houses, and vacant festival attracted 150,000 land, as art installation sites. visitors over 50 days. Table 4.2 The key outcome from the summarizes the economic festival was the restoration of a The Ichihara festival was effects produced from the major mode of transportation smaller in scale and festival Ichihara Art x Mix. that operates across the city. area relative to ETAT or the The first festival focused on Setouchi Triennale. PHOTO 4.11 Kominato Railway Source: Photo by Osamu Nakamura. Courtesy: Ichihara Art x Mix 58 PHOTO 4.12 My moon is always travelling: Murakami’s Last Flight. Or “Waiting the train to the Moon” (side view) Source: Artwork by Leonid Tishkov. Photo by Osamu Nakamura. Courtesy: Ichihara Art x Mix PHOTO 4.13 My moon is always travelling: Murakami’s Last Flight. Or “Waiting the train to the Moon” (front view) Source: Artwork by Leonid Tishkov. Photo by Osamu Nakamura. Courtesy: Ichihara Art x Mix Table 4.2 Impacts of the Ichihara Art x Mix ITERATION YEAR NO. OF FESTIVAL DIRECT PRIMARY SECONDARY TOTAL VISITORS BUDGET EFFECT ECONOMIC ECONOMIC ECONOMIC EFFECT EFFECT PROFIT 1st 2014 87,025 429,831 669,556 186,000 155,000 1,011,260 2nd 2017 100,066 163,075 400,060 514,240 594,170 1,508,470 3rd 2020 110,354 600,774 743,000 387,000 - 1,130,000 Source: Ichihara Art x Mix Executive Committee. Note: Economic values in Japanese yen 59 CASE 3: OKU-NOTO TRIENNALE Located at the tip of the Noto to Art Front Gallery in 2013, visitors’ direct spending was Peninsula, Suzu is one of the stemming from the successful estimated at ¥418 million most isolated areas in Japan. organization of the Setouchi (roughly US$3 million). Suzu was a once a vibrant port Art Triennale in 2010. Fram The second iteration of the city serving as one of the hubs Kitagawa became involved festival was postponed for a for sea trade. But with shifts in in designing the Oku-Noto year because of the COVID-19 the Japanese economy, Suzu Triennale in 2014, along with pandemic, and the third was experienced a steady decline. Suzu municipalities, which saw postponed for three weeks In 1960, Suzu City recorded the festival as a way to mitigate because of the May 5, 2023, a population of 38,157.5 As of the issues of severe residential earthquake, which had an 2020, Suzu had a population of population decline and aging intensity of 6 on the Japanese 12,929 people.6 (Sarale et al. 2020). seismic scale (photos 4.14 and The Oku-Noto Triennale took The 2017 festival was held from 4.15). Despite the challenges, place in Suzu City in 2017. The September 3 to October 22, more than 50,000 people idea of hosting the festival was with 39 artists participating. visited the festival during its 50- initiated by the Suzu Chamber During this period, Suzu day duration. of Commerce and was pitched received 71,000 visitors and PHOTO 4.14 Suzu Coast Source: Photo by Kiichiro Okamura. Courtesy: Oku-Noto Triennale 5 Data from the Suzu City website at https://www.city.suzu.lg.jp/uploaded/attachment/1067.pdf. 6 Data from the City Population website at https://www.citypopulation.de/en/japan/admin/17__ishikawa/. 60 PHOTO 4.15 Image of Suzu Coast with Residential Houses Source: Photo by Kiichiro Okamura. Courtesy: Oku-Noto Triennale 61 PHOTO 4.16 Something Else Is Possible Source: Artwork by Tobias Rehberger. Courtesy: Oku- Noto Triennale PHOTO 4.17 The Boat Which Carries Time Source: Artwork by Chiharu Shiota. Photo by Kichiro Okamura. © JASPAR, Tokyo, 2024 and Chiharu Shiota 62 The 2023 festival closed in were many applications for November, and on January 1, help and donations. The 2024, less than two months Okunoto-Suzu Yassa Project later, the Noto Peninsula was launched to use the earthquake struck Suzu. The various connections created television and other media at the art festival as a force to images reporting on the support Suzu on its long road disaster were very real to those to recovery and to unite the who had visited the art festival, hearts of people from various walked the area, and interacted places and cultures to Suzu. with the local people. There PHOTO 4.18 Effects of the January 1st, 2024, Earthquake, Suzu City Source: Courtesy: Art Front Gallery. 63 CASE 4: NORTHERN ALPS ART FESTIVAL The first iteration of the Omachi used to be an (photo 4.16). Artists from Northern Alps Art Festival, important transportation hub in around the world and in Japan located in Omachi City, the early twentieth century and created site-specific artworks Nagano Prefecture, Japan, saw rapid economic growth in mountains, lakes, rivers, took place in 2017. Omachi with aluminum refineries, dams, forests, urban areas, City is characterized by cotton mills, dam construction, villages, and shrines. Visitors 3,000-meter-high mountains and tourism. However, the discover and interact with the and is blessed with streams city suffered sharp economic region and local people, while and lakes, fresh air, and a scenic declines when these industries traveling from one work to the natural landscape, all of which phased out.7 next through the regions. has fostered a unique lifestyle and nurtured a distinctive The Northern Alps Art Festival These site-specific art festivals culinary culture. is based on the concept “Water, have expanded beyond the Wood, Soil, and Sky,” which borders of Japan to Taiwan, Yet, the city has experienced symbolizes the geographical China, the Republic of Korea, sharp population declines. features and climate of Omachi and Thailand. PHOTO 4.19 Tangible Landscape Source: Artwork by Mé. Photo by Tsuyoshi Hongo. Courtesy: Northern Alps Art Festival For more information about the history of Omachi City and the development of the Northern Alps Art Festival, see the 7 Universes website at https://universes.art/en/northern-alps-art-festival/2020. 64 PHOTO 4.20 What has happened/what will happen Source: Artwork by Maaria Wirkkala. Photo by Tsuyoshi Hongo. Courtesy: Northern Alps Art Festival 65 PHOTO 4.21 Doctor’s House Source: Artwork by Lee Bul, Photo by Keizo Kioku. Courtesy: Echigo-Tsumari Art Triennale 66 CLOSING COMMENTS 67 CLOSING COMMENTS L ocal revitalization through community-driven, site-specific art festivals is an iterative process that takes time to produce measurable socioeconomic benefits, as each festival becomes more well-known and attracts new visitors. Achieving revitalization through the site-specific art festivals requires thoughtful conceptualization, thorough planning, and patient implementation. Careful analysis and strategic support from the local government and communities is integral to implementation. While ETAT and other community-driven, site-specific art festival examples presented in this report have common themes and similarities in implementation, each is a distinctive series of carefully curated events developed overtime. Each provides experiences and insights that benefit communities, governments, and visitors—as well as contribute to the founding and establishment of new festivals. Drawing upon this research, the development of a successful community- driven, site-specific art festival must include the following key elements: PHOTO 4.22 Volunteers Planting Rice Source: Photo by Noriko Yoneyama Courtesy: Echigo-Tsumari Art Triennale 68 1 3 A “slow travel” element enables A clear mission and objectives are visitors to become immersed in the fundamental to the success of a local community culture—and fosters festival. revitalization. From the onset of festival conceptualization, it is important to By encouraging “slow travel” through communicate the festival’s mission festivals, visitors stay longer in the and objectives–—to clearly define what festival region, not only to view the can and cannot be achieved through artworks, but also to experience the the festival. The mission of a site- local people, culture, history, and specific art festival is revitalizing areas nature. This style of “slow travel” is that have suffered neglect over time, as distinctive from fast-moving, mass opposed to other types of festivals that consumption tourism that involves may be primarily focused on revenue- visits to many locations over a short generation or other entertainment- period. In developing the festival focused goals. Hence, the primary and site, it is important to consider this driving objective of the community- element, where inconvenience from driven, site-specific art festival is to the lack of frequent transportation activate community interest and gain and minimum availability of support from local governments to organized travel amenities can be foster revitalization. Equally important positive inconveniences because they is the lesson that revitalization is not encourage visitors to spend more time attained through a one-time event; in the region and to become more rather, it is a process that takes time, immersed in local community culture. resources, and commitment to fully 2 realize its potential. Communities have an indispensable role in the development of a site- 4 Striking a careful balance between specific festival. new developments and preserving Site-specific art festivals must have local heritage is a continuous a human element, and the role of challenge integral to planning and community in bringing this element overall success. to the festival is indispensable. For During the planning and festivals to be sustainable, it is not implementation of a festival, it enough to “beam in” outside visitors. is important to complement the Only festivals that strongly resonate significance of the local heritage with with locals and are deeply connected the creation of new art developments. to their communities can be viable The intertwinement of the artists and sustainable. and the narrative behind their artworks with the local environment and cultures provides a rare vehicle for engaging communities while nurturing revitalization. 69 APPENDIXES APPENDIX A. local municipalities, production ORGANIZATIONAL CHART of artworks, other festival OF ART FRONT GALLERY related administration. The The site-specific art festivals artwork section undertakes introduced in this report are art-led urban redevelopment directed and coordinated by projects, such as FARET Fram Kitagawa, the staff at Tachikawa, and art consulting Art Front Gallery and those at and related services, spanning NPO Echigo-Tsumari Satoyama the full range from design Collaborative Organization. to supervising production, The organization of Art Front installation, and maintenance Gallery is composed of the for both monumental art festival section, artwork section, designed for urban settings and gallery section. The festival and smaller works for spaces section is the department that inside or outside buildings. is in charge of festival related The gallery section exhibits coordination, including working artists, sell their artworks and with artists, coordination with participates in art fairs. Figure A.1 Art Front Gallery Organization Chart Art Front Gallery Festival selection Artwork selection Gallery selection 1. Art coordination 1. Art coordination Exhibition 2. Event 2. Urban Sales of artworks administration redevelopment projects 70 APPENDIX B. FESTIVAL-RELATED DATA Table B.1 Echigo-Tsumari Art Triennale ITERATION YEAR NO. OF PARTICIPATING NO. NO. OF FESTIVAL PRIMARY SECONDARY TOTAL VISITORSA VILLAGES ARTWORKS PARTICIPATING BUDGETB ECONOMIC ECONOMIC ECONOMIC HELD ARTISTS EFFECT EFFECT PROFIT 1st 2000 162,800 28 149 148 479,613 10,054,000 2,704,000 12,758,000 2nd 2003 205,100 38 224 157 426,588 13,190,000 5,650,000 18,840,000 3rd 2006 348,997 67 329 225 670,399 4,927,000 754,000 5,681,000 4th 2009 375,311 92 365 200 581,114 3,097,000 464,000 3,651,000 5th 2012 488,848 102 367 320 489,034 4,030,000 620,000 4,650,000 6th 2015 510,690 110 378 363 624,203 4,350,000 740,000 5,089,000 7th 2018 548,380 109 379 355 669,720 5,625,000 903,000 6,528,000 8th 2022 574,138 109 333 263 600,201 1,775 1,096 8,262 Source: Echigo-Tsumari Art Triennale Executive Committee. Note: All financial numbers are denoted in thousands of Japanese yen. a. The number of visitors counts those who visited during the official festival season, which takes places at the start of the Triennale. b. Festival budget includes donations, government grants, and projected ticket sales, which all have been invested in the preparation and delivery of the festival. Projected ticket sales are recalculated at the end of the festival season and reflected in the festival budget. This way of accounting reflects how nonprofits match grant budgets with the expenditures. The eighth iteration was held for 145 days from April to November due to the COVID-19 pandemic. Table B.2 Setouchi Triennale ITERATION YEAR NO. OF VOLUNTEERS NO. NO. OF FESTIVAL DIRECT EFFECT PRIMARY SECONDARY TOTAL VISITORSA ARTWORKS PARTICIPATING BUDGETB ECONOMIC ECONOMIC ECONOMIC HELD ARTISTS EFFECT EFFECT PROFIT 1st 2010 938,000 - - - 653,000 - - - 11,000,000 2nd 2013 1,070,000 1768 207 200 1,026,000 7,700,000 13,190,000 2,600,000 13,200,000 3rd 2016 1,048,050 7000 207 226 1,276,000 8,600,000 4,927,000 2,400,000 13,900,000 4th 2019 1,178,484 9458 214 230 1,225,000 11,200,000 3,097,000 3,100,000 18,000,000 5th 2022 723,316  Source: Setouchi Triennale Executive Committee Note: All financial numbers are denoted in thousands of Japanese yen. a. The number of visitors counts those who visited during the official festival season, which takes places at the start of the Triennale. b. Festival budget includes donations, government grants, and projected ticket sales, which all have been invested in the preparation and delivery of the festival. Projected ticket sales are recalculated at the end of the festival season and reflected in the festival budget. 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