This is a chapter in a catalogue of a major travelling exhibition ‘International Arts and Crafts’ held at the Victoria and Albert Museum in 2005 which also travelled to Indianapolis and San Francisco, organised by the Victoria and Albert Museum in 2006. The curatorial intention of this exhibition lies in the influence of the English Arts & Crafts movement in the world, in particular, in the USA, the European Continent and Japan, and its local appropriation. Japan’s case was treated as a unique example of its appropriation by using indigenously grown visual culture.
This essay outlines the chronological development of Mingei theory and the Mingei movement. It focuses on the ‘hybrid’ nature of Mingei theory for which Yanagi Sōetsu, the leader of the Mingei Movement, creatively appropriated the ideas of the English Arts and Crafts movement. Although the curators resisted my original emphasis on the context of Japanese nationalism and imperialism, the essay succeeded in offering the V&A’s audience a new perspective on the Mingei movement by placing it in the international context of modern movements by emphasising the close ideological relation to the English movement.
|Type of Research:||Book Section|
|Additional Information (Publicly available):|
My current research interest is on the issue of modernity and the discourse of cultural identities in Asian and comparative visual cultures of the non-western countries with a particular geographical focus on Japan and Taiwan. I have published a monograph 'Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism' [RoutledgeCurzon, 2004] which examined the nationalist discourse of Mingei (Japanese folkcrafts) theory developed by Yanagi Soetsu in the 1920s from the post-colonial cross-cultural perspectives. Bamboo crafts, crafts related to the modern wars (memorabilia, war fashion, substitute products) and cultural politics involved in crafts in modern Japan, and modernities in the relationship with Mexico and Japan are the subjects of the projects that I have been developing recently. I have also been conducting research on the discourse on Taiwanese identities in crafts from the Japanese colonial to the contemporary period and editing a collection of essays by nine contributors, to be published as 'Refracted Modernity: Visual Culture and Identity in Colonial Taiwan' (forthcoming 2007). As a Keeper of the Camberwell/ILEA Collection of Applied Arts at Camberwell College of Arts, I have also been conducting research on the nature of the collection with particular interest in the Japanese objects in the collection.
|Publisher/Broadcaster/Company:||V&A Publications: London|
|Your affiliations with UAL:||Research Centres/Networks > Transnational Art Identity and Nation (TrAIN)|
Colleges > Camberwell College of Arts
Colleges > Chelsea College of Art and Design
|Related Websites:||http://www.transnational.org.uk, http://www.culturalprofiles.net/japan/Directories/Japan_Cultural_Profile/-6093.html|
|Deposited By:||INVALID USER|
|Deposited On:||07 Dec 2009 12:59|
|Last Modified:||29 Mar 2010 10:03|