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<h2 class="hd hd-2 unit-title">Day 26 – Conclusion</h2>
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<p><strong>Welcome to Module V – Conclusion</strong></p>
<p>Congratulations! You're near to completing the course!</p>
<p>Module V—<strong>Day 26 - Conclusion</strong>—begins with a discussion between Prof. Dower and Dr. Ulak that includes their personal experiences of American and Japanese cultures exploring the dialectic of ”us“ and ”them“; the difference between Westernization and modernization; the past in the present.</p>
<p>At the very end, you will see that the 100 Views concept continues with <strong>new artists working in the print medium re-envisioning Tokyo</strong>.</p>
<p>The videos are a little longer as the discussion sums up key themes:</p>
<ul>
<ul>
<li>Westernization & Modernization </li>
<li>
"Tokyo Rhapsody" a Popular Song </li>
<li>
Tokyo as the Imperial Capital
</li>
<li>World War II and Aftermath</li>
<li>More "100 Views" Series . . . </li>
</ul>
</ul>
<p>Finally, all that remains is the course <strong>Final Exam</strong>.</p>
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<h2 class="hd hd-2 unit-title">Westernization & Modernization</h2>
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<h2 class="hd hd-2 unit-title">”Tokyo Rhapsody“: a Popular Song</h2>
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<p>The song described by Prof. Dower, ”Tokyo Rhapsody,“ is one of a number of songs referring to Japan‘s capital city that are mentioned on the opening page of Prof. Nagahara‘s book:</p>
<blockquote>
<h5>“Tokyo March,” “Tokyo Dance,” “Tokyo Rhapsody,” and “Tokyo Boogie-Woogie”—all of these are titles of songs produced by Japan’s recording industry between the late 1920s and the late 1940s. On a first hearing, these songs seemingly have little in common with each other, aside from the obvious reference to Japan’s capital city. “Tokyo Dance” (“Tokyo ondo,” 1933) sits on one end of the musical spectrum as a song in the mold of traditional dance music for the summer Bon festival, while “Tokyo Boogie-Woogie” (“Tokyo bugiugi,” 1947), as the title suggests, sits on the other end as a powerful symbol of Americanization after World War II.</h5>
<h5>The other two songs, “Tokyo March” (“Tokyo kōshinkyoku,” 1929) and “Tokyo Rhapsody” (“Tokyo rapusodī,” 1936), further muddy the water by being so thoroughly syncretic, containing musical elements that could be easily identified as either “Western,” as in the instrumentation for both songs, or “Japanese.” Taken together, they not only defy attempts at drawing a simplistic narrative of a clear, linear transformation of Japanese popular music into a something more “Western,” they also seem to resist any categorization that would place them within a common musical culture, even though they were produced by the same industry. (Nagahara, <i>Tokyo Boogie-Woogie</i>, p. 1)</h5>
</blockquote>
<p>You can learn more about ”Tokyo Rhapsody“ in a blog post (linked below):</p>
<p></p>
<blockquote>
<h5>”Tokyo Rhapsody“ was sung by Ichiro Fujiyama(藤山一郎)who was born Takeo Masunaga(増永丈夫)in Tokyo in 1911. It was written by Yutaka Kadota(門田ゆたか)and composed by Masao Koga(古賀政男). According to J-Wiki, Koga had the seed for this song as he was driving in a new Ford Coupe along Tokyo‘s Meiji Jingu Gaien in the early summer. He decided that he wanted to come up with a song talking about the new modern Tokyo, and ”Tokyo Rhapsody“ would have that sound of jaunty industriousness. And lyricist Kadota made sure to have shout outs to neighbourhoods like Shinjuku, Asakusa and Kanda, as Fujiyama waxed in tribute to ”...the capital of happiness, the capital of love, the dream paradise...“ <a href="http://kayokyokuplus.blogspot.com/2013/11/ichiro-fujiyama-tokyo-rhapsody.html" target="_blank">(Read the post on the ”Kayo Kyoku Plus“ Blog</a> This is external to edX and will open a new window)</h5>
</blockquote>
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<h3 class="hd hd-2">”Tokyo Rhapsody“ (Japanese popular song, 1936)</h3>
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<p>VTx covers a timespan—from the late 1860s to early 1940s—during which Tokyo was the Imperial capital of Japan. What did the shift towards the emperor as the undisputed sovereign power—and subsequent empire—mean for Japan's transition from a secluded, insular nation to a modern world power?</p>
<p>It helps to see the succession of Japan‘s <span style="line-height: 1.6;">modern-period </span><span style="font-size: 1em; line-height: 1.6em;">emperors as depicted in the following graphic</span><span style="font-size: 1em; line-height: 1.6em;">:</span></p>
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<h5><br />Japan‘s Emperors, modern period (Image: Wikipedia)</h5>
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<p><em>War Without Mercy</em></p>
<p>In his 1986 book, <em>War Without Mercy: Race and Power in the Pacific War</em>, John Dower pioneered the historical analysis of popular imagery—cartoons, illustrations, caricatures—to expose how each side viewed and demonized the other, exploiting extreme forms of racism during the brutal war.</p>
<p>His Pulitzer Prize-winning book, <em>Embracing Defeat: Japan in the Wake of World War II</em> (1999), looks at how Japan and the U.S. were interlocked in reconstructing Japan in the post-World War II years.</p>
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<h2 class="hd hd-2 unit-title">More ”100 Views“ Series . . .</h2>
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<p><strong>More "100 Views" Series . . . </strong></p>
<p>The tradition of depicting 100 views series continues. If you start looking, you will find a number of approaches, including <a href="http://uguilab.com/publish/2016100views/en_index.html" target="_blank">Japanese manga, such as illustrator Shinji Tsuchimochi's <em>100 Views of Tokyo</em> (2016).</a></p>
<blockquote>
<h5>I started this series, because I would like to memorize the landscapes of our era by drawing, which could be able to connect the past and the present. . . . I aimed to establish a unique style, a fusion of Japanese Ukiyo-e and Manga.” (Shinji Tsuchimochi, <em>100 Views of Tokyo</em>, 003 and 127)</h5>
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<p><img height="auto" width="100%" src="/assets/courseware/v1/9cec91023f987b9d8a10d896c24fb736/asset-v1:MITx+VTx+1T2019+type@asset+block/Shinji-Tsuchimochi_100-views_Tsukiji.jpg" alt="Shinji Tsuchimochi, 100 Views of Tokyo, “No. 14 Tsukiji Outer market” and "No 15. Rikugien Gardens (Komagome)," Shikaku Publishing Company, English and Japanese, 2016" /></p>
<h5>Caption (above): Shinji Tsuchimochi, <em>100 Views of Tokyo</em>, “No. 14 Tsukiji Outer market” and "No 15. Rikugien Gardens (Komagome)," Shikaku Publishing Company, English and Japanese, 2016</h5>
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<p>In 2019, the Art Institute of Chicago exhibited <strong>”One Hundred Views of Tokyo: Message to the 21st Century</strong>.“ The series consisted of ”ten folios of ten prints each, with one folio produced annually between 1989 and 1999“ by a number of Japanese artists using a number of printmaking approaches that included the woodblock print.</p>
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<h5><em>One Hundred Views of Tokyo: Message to the 21st Century</em></h5>
<h5>Exhibition, Art Institute of Chicago, September 21 - December 8, 2019</h5>
<h5>Created between 1989 and 1999, most of the prints in this series—conceived by members of the Japan Print Association—depict actual locations in the city such as the Shinjuku area, Tokyo Tower, Haneda airport, and sites such as Tokyo Bay, though a large number of works show completely imaginary places or abstract imagery. … This exhibition celebrates the recent acquisition of a complete set of prints in the series and features over 30 works, including Tokyo Rhapsody by Toneyama Kojin (1921–1994), an artist fascinated by the arts of Mexico and Japanese folk arts. In this lithograph, a human figure rides a large wasp over Tokyo, whose buildings and monuments appear jumbled, as if reconfigured into a distorted collage. (website, Art Institute of Chicago)<br /><br /></h5>
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<p>Professor Dower mentioned the song <strong>“Tokyo Rhapsody”</strong> which, coincidentally, turns out to be the title of the print the museum chose as the ”signature graphic“ on the exhibition poster (see below). A colleague in Chicago visited the exhibition, and took photos for inclusion in VTx. Needless to say, many of the locations overlap with the 100 views you have been looking at in fascinating ways, ranging from highly abstract to cartoon overlays.</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/abd7927d7dba91843d38e93fac33cd5b/asset-v1:MITx+VTx+1T2019+type@asset+block/100Views_4354_Aguilera_2019-12-07_2000w.jpg" alt="exhibition entrance, One Hundred Views of Tokyo: Message to the 21st Century, Art Institute of Chicago, September 21 - December 8, 2019, photo by Julieta Cristina Aguilera-Rodríguez" /></div>
<h5><br />Caption (above): exhibition entrance, <em>One Hundred Views of Tokyo: Message to the 21st Century</em>, Art Institute of Chicago, September 21 - December 8, 2019, photo by Julieta Cristina Aguilera-Rodríguez<br /><br /><br /></h5>
<p>Toneyama Kōjin‘s “Tokyo Rhapsody” print (1993) is an anthem to modernity that fuses people and places of Tokyo through time. The exhibition wall text reads:</p>
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<h5>In this fantastical image, the artist presents Tokyo as an existential clash between old and new, experienced in snapshots. An apocalyptic figure riding a large wasp surveys a jumble of traditional and modern urban landscape. On the left a bullet train speeds past the Tokyo Metropolitan Government Building No. 1. The foreground features Tokyo Station, pictured in green, which was built during the Meiji period (1868–1911). To the right, Tokyo Tower stands tall beside the stature of Saigō Takamori, one of the leaders of the Meiji Restoration. A traditional festival float is inset below the statue. (Exhibition wall text, Art Institute of Chicago)<br /><br /><br /></h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/03bf854ff473ae004ff7c99e81eb493b/asset-v1:MITx+VTx+1T2019+type@asset+block/100Views_4359_Aguilera_2019-12-07_2000w.jpg" alt="Toneyama Kōjin, “Tokyo Rhapsody,” 1993, lithograph for series One Hundred Views of Tokyo: Message to the 21st Century, Art Institute of Chicago, September 21 - December 8, 2019, photo by Julieta Cristina Aguilera-Rodríguez" /></div>
<h5><br />Caption (above): Toneyama Kōjin, “Tokyo Rhapsody,” 1993, lithograph for series <em>One Hundred Views of Tokyo: Message to the 21st Century</em>, Art Institute of Chicago, September 21 - December 8, 2019, (photo: Julieta Cristina Aguilera-Rodríguez)<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/b2a17b2b2414a8296dc423c667fdf983/asset-v1:MITx+VTx+1T2019+type@asset+block/100Views_4385_Aguilera_2019-12-07_2000w.jpg" alt="exhibition view, One Hundred Views of Tokyo: Message to the 21st Century, Art Institute of Chicago, September 21 - December 8, 2019, photo by Julieta Cristina Aguilera-Rodríguez" /></div>
<h5><br />Caption (above): exhibition view, <em>One Hundred Views of Tokyo: Message to the 21st Century</em>, Art Institute of Chicago, September 21 - December 8, 2019 (photo: Julieta Cristina Aguilera-Rodríguez)<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/8ae7f8d75daad4a1d9084295b035f3d0/asset-v1:MITx+VTx+1T2019+type@asset+block/Wangan_Shibaura_Tokyo_Bay_Side-Shibaura_1989_british-museum_2000w.jpg" alt="Wangan Shibaura, “Tokyo Bay Side: Shibaura," 1989, woodblock print, view of the Tokyo Bay area, for series One Hundred Views of Tokyo: Message to the 21st Century, Collection of The British Museum" /></div>
<h5><br />Caption (above): Wangan Shibaura, “Tokyo Bay Side: Shibaura," 1989, woodblock print, view of the Tokyo Bay area, for series <em>One Hundred Views of Tokyo: Message to the 21st Century</em> (Collection of The British Museum)<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/asset-v1:MITx+VTx+1T2019+type@asset+block/Kawachi_Seiko_The_Flying_Metropolitan_Government_Office-%E2%85%A0_british-museum_2000w.jpg" alt="Kawachi Seiko, “The Flying Metropolitan Government Office-Ⅰ,” woodblock print, 1993, skyscrapers, a globe and birds, Collection of The British Museum" /></div>
<h5><br />Caption (above): Kawachi Seiko, “The Flying Metropolitan Government Office-Ⅰ,” woodblock print, 1993, for series <em>One Hundred Views of Tokyo: Message to the 21st Century</em>, skyscrapers, a globe and birds (Collection of The British Museum)<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/9fc642a090988b588b5e5cd2d142ba45/asset-v1:MITx+VTx+1T2019+type@asset+block/Sonoyama-Harumi_Kabukiza_100-views_1991_British-Museum_2000w.jpg" alt="Sonoyama Harumi, “Kabukiza,” for series One Hundred Views of Tokyo: Message to the 21st Century, 1991, lithograph, exterior of Kabukiza, Collection of The British Museum" /></div>
<h5><br />Caption (above): Sonoyama Harumi, ”Kabukiza,“ for series <em>One Hundred Views of Tokyo: Message to the 21st Century</em>, 1991, lithograph, exterior of Kabukiza (Collection of The British Museum)</h5>
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<p>There won't be a Day 26 quiz. Simply move on to take the <strong>Day 27 - VTx Final Exam</strong>, and the course will be complete!</p>
<p>To find any of the texts that were referenced in the course, check out the <strong>Bibliography</strong> in the main top tabs.</p>
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<p>Thank you for participating in ”Visualizing the Birth of Modern Tokyo.“ We hope you enjoyed the course, and that going forward, you‘ll notice locations, and how they signify a city (or another place) layered in time. No doubt, you will look at the genre of woodblock prints, Japan‘s highly developed art form, with an affectionate and knowledgeable eye.</p>
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