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PoP as strategY makishi tsUtomU’s Political PoP in okinawa HIroko IkegamI

On June 14, 1972, the Okinawan artist Makishi Tsutomu (1941–2015)1 mounted an installation entitled Commemorating the Reversion to the Great Empire of Japan at the gallery space of Okinawa Products Center in Naha, the capital city of Okinawa Prefecture. Opened exactly a month after Okinawa reverted to Japanese governance after twenty- seven years of US occupation, the exhibition consisted of numerous silkscreens of two photographs, which surrounded the entire gallery space like wallpaper. One image was a portrait of To¯jo¯ Hideki, the Prime Minister of Japan during most of the Second World War period, who was responsible for ordering the attack on Pearl Harbor, among other warmongering acts, and was hanged in 1948 for Japanese war crimes. The other was Joe Rosenthal’s famous 1945 photograph of the raising of the US fl ag during the battle of Iwo Jima, with one signifi - cant detail changed by the artist: the Stars and Stripes was transformed into a Japanese fl ag. While the wallpaper treatment was clearly inspired by Andy Warhol’s Cow series, originally exhibited at the Leo Castelli Gallery in

1 I would like to acknowledge my gratitude to the following individuals who helped my research on Makishi Tsutomu: Machida Megumi, Kuniyoshi Atena, Onaga Naoki, Makishi Tamiko, and Makishi Nami. In this article, Japanese names are given in the traditional order: surname fi rst, followed by fi rst name, except for individuals who have voluntarily adopted the Western order.

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Makishi Tsutomu. Installation view of Commemorating the Reversion to the Great Empire of Japan, 1972. Held at the Okinawa Products Center, June 1972. Photograph courtesy of Makishi Tamiko.

Makishi Tsutomu. Installation view of Commemorating the Reversion to the Great Empire of Japan, 1972, with Makishi (on the right) conversing with exhibition visitors. Photograph courtesy of Makishi Tamiko. Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021

Makishi Tsutomu. Silkscreen for Commemorating the Reversion to the Great Empire of Japan, 1972, based on Joe Rosenthal’s 1945 photograph of the flag-raising on Iwo Jima. Photograph courtesy of Makishi Tamiko. American . Nonetheless, Makishi was unique in in unique was Makishi Nonetheless, vocabularies. Pop Art American appropriating by Vietnam in intervention military American cized American Interiors (American Érro artist Icelandic and dental yCristiana dental 4 sense, his work differed from works “Tokyo by Pop” work differed his sense, the late 1960s up to the early 1970s. early late 1960s up to the the from of Okinawa complex upon reality the commentary acritical made artist the which through Pop Art, from American borrowing strategic and of critical Makishi’s culmination the marked exhibition forces. The armed of official 1947, maintenance prohibits the and renounces war in enacted Japan’s constitution, because such as postwar —named Forces” “Japanese Self-Defense of the form the in island the ­re-entered also Japanese army but the presence on Okinawa, their maintain forces to continue US military the not did only price: agrave with Okinawa’s came reversion that to Japanese fact sovereignty the cized criti the Japanese one, Makishi with flag American over the By forefront at installation. the of satire the political biting put his of images his and of manipulation 1966, gesture Makishi’s 3 2 contemporaries, such as León Ferrari in Argentina ( Argentina in Ferrari León as such contemporaries, international works his by satirical other resonatedwork with instead work. Makishi’s their in statements political overt from making to but tended America of postwar dominance cultural ences to the Ushio Yokoo and refer Shinohara ironical made who Tadanori, often Asian front base for the US military during the Cold War. the during US for front base military the Asian the as US voiced served from was ade facto colonytique that island cri his that in case, Pop” important an presents “Political Makishi’s International Pop Tokyo of Pop,” International in Spirit The Thanks!’: ‘No, More?’ “‘Drink Ikegami, Hiroko See 1960s. the Tokyo in in based artists Pop-inspired of agroup examine to essay following the in Iused term the is This The World Goes Pop Goes World The in Introduction,” Pop: An Morgan’s “Political Jessica also pop,” see “global calls she what of potentiality critical For the critique. and satire political contain and aPop style in rendered are others—that among Makishi by those artworks— designate to sense abroader in term the Iuse study, this In work. their in globalization of icons with Revolution Cultural the from images propaganda juxtaposing in Pop Art American of style the used who artists contemporary Chinese of agroup to refers usually 1992, in Xianting Li critic Chinese the by Pop,” coined “Political term The 2016). 24, January Pop Goes World The and 2015), 29, 11–August April Center, Art Walker (Minneapolis: Ryan Pop International catalogs: exhibition following the see Pop of Art, development multi-locale the survey to attempts curatorial For recent In the history of the multilocale development of Pop Art, multilocale of the history the In , ed. Jessica Morgan and Flavia Frigeri (London: Tate Modern, September 17, 2015– September Tate Modern, (London: Frigeri Flavia and Morgan Jessica , ed. , 1965), ( Tozzi Cláudio Brazil in , 165–80. , ed. Darsie Alexander and Bartholomew Bartholomew and Alexander Darsie , ed. , 1968), all of, 1968), whom criti all USA eabUSA 4 La civilización occi civilización La artists such as as such artists 3 In this this In , 15–28. 2

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Literature [ Bungaku Okinawa Shin ISaw”], Whom [“He kare” mita no “Watashi Setsuko, to.” Adaniya try we if even anymore, overthrow to nothing have we Okinawa, at Look want. they time any overthrow to need they that tradition cultural the see can they lucky, very are artists “[Western] wife; his told Adaniya home, return his Upon Shin Okinawa Bungaku Okinawa Shin Award”], Art an Receiving of Occasion On World: Art Okinawan of Future and [“Vision suru” to kiten tenbo¯ no gadan “Okinawa Masayoshi, sho¯rai: sono to Adaniya sensho¯ Geijutsu jusho¯ wo (Naha: Okinawa Prefectural Museum & Art Museum, 2011), exhibition catalog, 98. catalog, exhibition 2011), Museum, &Art Museum Prefectural Okinawa (Naha: [ yukue no Modanizumu Masayoshi: Adaniya Times Okinawa Gallery”], Form atthe Exhibition aSolo Tokyo: After and Okinawa between [“Distance oete” wo koten no garou Forumu Tokyo kyori: no to “Okinawa Masayoshi, today.” Adaniya way that feelings my express and way that feel only can who myself, with content means no by Iam However, Okinawa. of all around Iwalked when into Ibumped thing only the was base the because so Idid did. ists novel like resistance my express to Iwanted because or civilization, machine today’s with along Iwent because not base the to eye my turned “I claims, Adaniya pictures these In 24 Interestingly, like Nadoyama and O and Nadoyama like Interestingly, 25 as he wrote in 1967: “The war destroyed our cultural patri cultural our destroyed war “The 1967: in he as wrote Adaniya Masayoshi Adaniya from quoted 1967); 7(Fall no. ], 26 Adaniya Masayoshi Adaniya from quoted 1967); 5(Spring , no. Adaniya Masayoshi: The Path of of Path The Masayoshi: Adaniya , December 25–27, 1963. Quoted from from Quoted 1963. 25–27, , December – mine, Adaniya also also Adaniya mine, , 181. New Okinawan Okinawan New , 158. ] -

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I k e g a m i | P o p as Translati o n s T r at e g y Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded 54 a r t m a r g i n s 7 : 2 1945 were defined by 1945 were defined “Americanization,” after years the “Japanization,” then with synonymous 1872 was after Okinawa in other.” “the as modernization If from America themselves dissociate entirely to for Okinawans US forcesthe it made difficult Okinawa’s and economic occupation on dependence military longed pro The mainland. on the those moremuch complex and severe than 1952, were in sovereignty Japan US by pied regained forces after even occu to be continued which conditionson Okinawa, living ences, the experi on similar based America toward feelings love-hate had also as has been canonically demonstrated for Warhol’s demonstrated canonically art, been has as or straightforward, clear-cut never is politics its of ambivalence: franca alingua but also art, of contemporary franca lingua not anew only was For 1960s. of the Pop Art half latter the during art his in realities on Okinawa’s complex reflecting when he started Pop Art American compromised Japan’s by been domination. previous already had which culture, and life Okinawan of postwar arable part 1960 to 1964. Tokyo, in University from at Tama days Art student his during time some happened of Pop likely most discovery United Makishi’s States. outside the artists Pop-inspired by exploited consciously often was ity 31 31 30 29 28 Words Japanese nationality. Japanese their despite Japan, mainland to travel to passport aUS-issued use to needed control American under residents Okinawan because art, study to abroad” “went he Technically, 36–59. 1996): (Winter 75 October America,” in “Death Montreal and Paris, York, New in Art Modernism: Reconstructing Warhol,” in Early in Reference and Critique German New Germany,” of Republic Federal the in US of Pop Art Critique and Pop:of Reception Politics Cultural “The Huyssen, Andreas instance, for See, Pop Art. in Warhol’s and work in and potential political the on 1970s the since articles many been have There Japan). yu¯ Yamato preceding the to opposed yu¯ Amerika period US-occupied the call aptly Okinawans A in published and transcribed 2012, 9, March Megumi, Machida and Naoki Onaga by conducted Tsutomu, Makishi with Interview Although quite a few Tokyo Pop artists, such as Tanaami Keiichi, Keiichi, Tanaami as such Tokyo afew quite Pop artists, Although acontrarian. Ibecame Since then, hell. what the So, we thought, pocket. his in cigarettes Strike of Lucky a packet of yesterday’s But enemy!” garbage we saw to eat the on kids, you, Perhaps this is why it was all the more fitting for Makishi to use use to for Makishi more the fitting why is all it was Perhaps this ] (Naha: Okinawa Artist Interview Project, 2014), 50–51. 2014), Project, Interview Artist Okinawa ] (Naha: , ed. Serge Guilbaut (Cambridge, MA: MIT Press, 1990), 311–26; and Hal Foster, Foster, Hal and 311–26; 1990), Press, MIT MA: (Cambridge, Guilbaut Serge , ed. 31 Tokyo’s avant-garde art scene during this period under period this Tokyo’s scene during art avant-garde , no. 4 (Winter 1975): 77–97; Thomas Crow, “Saturday Disasters: Disasters: Crow, “Saturday Thomas 77–97; 1975): 4(Winter , no. meaning meaning yamato with era/rule,” Japanese (“the ¯ tisuto no kotoba: Intabyu¯ kotoba: no tisuto shu¯ 29 making “America” insep an making (“the American era/rule”), as as era/rule”), American (“the 28 30 and this qual this and [ Artists’ Artists’ - - - -

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- - Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded , as well as via a series of articles of articles aseries via as well , as International Art journal the through amethod. as seriality and of Pop’s awareness his culture showing of commercial use already tags, and labels numerous pasted had artist the onto which solo panels Makishi’s show included that remembers Masahiko Hoshi critic art and poet the exhibitions, two for touncovered date these Times Okinawa the of building the lot near avacant in Artists, and Sun Mid-Summer the between Encounter entitled in Okinawa, groupexhibition outdoor first the organizing while Naha in Center Cultural Ryukyuan-American the he asolo had Island: show at to Okinawa spirit Neo-Dada/Anti-Art this he brought year of that of 1963. August In summer the by objects made (Anti-Art), geijutsu han to junk-based from Informel went ashift 36 36 35 34 33 32 drum as his “submission” the following year). “submission” his as following the drum a in hours who museum spent Nobuaki, Kojima by a performance Ushio and works Shinohara by junk-based he recollected (for instance, work his alongside exhibited vein Anti-Art the works in to see shocked 1961 Yomiuri in Independent was to the and style Informel the in abstraction of gestural apainting He submitted person. in transition thing that they had created. had they that thing any setting amuseum in to exhibit opportunity annual an artists ing offer Yomiuri Exhibition Independent no-prize no-jury, legendary the the surface.” the onto thesunlight reflecting mirror ahand with canvas abstract white a“black-and- frontcanvas,” white and of in apure were hung which fire, andon set kerosene with filled cans “a as drink few works such wild equally exhibited artists other three the while lines, morphic bio and circles countless he painted tapes,” had on duct which with “old up rolled tires exhibited had Makishi that explaining exhibition, artists in their own right. own their in artists important are whom of all Yasunobu, Nishime and Nobuharu, Nagayama Yoshiharu, Times Okinawa 2017. 26, June , the to message facsimile Masahiko, Hoshi A Makishi, 2013). Press, University Duke NC: (Durham, Japan 1960s in Revolution and Art Guillotines: Trains,and Money, Marotti, William 4in chapter see exhibition, For this 2012). Art, Modern of York: Museum (New Avant-Garde ANew 1955–1970: Tokyo ed., Chong, Doryun Tokyo, see post-1945 in scene art avant-garde the of development For the By that time, American Pop Art had been introduced in Tokyo in introduced been had Pop Art American time, By that ready- using started Makishi shift, to this responding Apparently ¯ 36 tisuto no kotoba: Intabyu¯ kotoba: no tisuto shu¯ 35 also reported on the outdoor group on the reported also Times Okinawa The , August 23, 1963. The three other participating artists were Higa Higa were artists participating other three The 1963. 23, , August . Although no photographicrecords have been . Although 33 Makishi witnessed and experienced this this experienced and witnessed Makishi , 54. 34 32 with with - - - 55

I k e g a m i | P o p as Translati o n s T r at e g y Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded 56 a r t m a r g i n s 7 : 2 Makishi had found on the record jacket of an LP by Lewis’s band. Lewis’s by record LP of foundon had an the jacket Makishi whose photograph John Lewis, musician jazz renowned of the portrait alarge show of was the feature main the indicates, exhibition’s title the Lewis John to World According The Entitled Okinawa. in major newspaper of Ryu¯kyu¯ lobby building home, of the the in return Shinpo¯ work. own his into able Pop tohis develop inspiration he was foruntil to wait had years afew and store Naha in father’s tailor 1964,however, his to help in March obliged from college he in was ing Upon city. graduat the in galleries art many Tokyo,dent in frequenting Castelli Gallery the previous year. Since the library at the Ryukyuan- at the year. library Since previous the the Gallery Castelli Leo at the series Cow his Warhol that way cent of exhibited had the reminis clearly is treatment wallpaper The of old gunnysacks. sheets on numerous silk-screened portraits, repeated his with walls gallery the covering by treatment, Pop-style adistinctively gave him Makishi ture, cul icon apop American in not necessarily was John Lewis Although Ko¯ichi. Shinjiro¯ Okamoto as such Japanese artists Pop-inspired by Tateishi and works included which group show, Gallery, Young Minami at Seven the 39 39 38 37 card. tion exhibition’s Pop!” is on invita the “This he proclaimed, Segal, George Johns, and Jasper Rauschenberg, Robert as such artists American by of works on reproductions works based 1963. Exhibiting September as early as Gallery Naiqua at the series Art solo show of his fromYork New news latest atheld a and this jumped Independent, Yomiuri at the Tokyo group in Dada Neo aregular short-lived and once of amember the Shinohara, artist Japan. The in art American To¯no critic the by Expressionist of post–Abstract achampion Yoshiaki, space to jazz music as a tribute to his favorite pianist. favorite his to atribute as music jazz play to space exhibition the of middle the in recorder atape placed He also it. around painted he that frame adecorative with portrait the embellished and board atwo-panel to attached ror amir onto photo the silk-screened Makishi leader. as acted Lewis John which of Quartet, Jazz Modern the by Concert European as 1962 in released was record two-disk The Pop artists. American the from work their differentiate to attempt an in perhaps artists, Japanese by works Pop-inspired and object-based both to refer to To¯no that (Anti-Art) though, geijutsu han noted, be to It is term the use to tended 2010). Press, MIT MA: (Cambridge, Art American of Rise Global the and Rauschenberg Robert Migrator: Great The Ikegami, Hiroko 4in chapter see series, Art Imitation Shinohara’s and Japan Pop in and Neo-Dada American of introduction For the In May 1967 Makishi finally held his first solo exhibition since his since exhibition first solo his held finally MayIn 1967 Makishi , the installation work evidenced Makishi’s decisive Pop turn. As As Pop decisive turn. Makishi’s work evidenced installation , the 38 Makishi must have followed these developments as an art stu art an as developments have followed must these Makishi 37 In January and February of 1964,To¯no February and January In a organized also , another , another 39

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- - - Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded concern with the Southeast Asian situation, in that a surviving asurviving that in situation, Asian Southeast the with concern years. postwar the in Japanese nationals as citizenship equal for fight own Okinawans’ United States echoed the in rights for civil longbattle Americans’ African perspective, this From soldiers. white by against discriminated from and segregated as them observing sympathy, correctly with soldiers American African saw Okinawans many were Okinawa, unwelcome in personnel military American reversion movement the all involved forwith those Although residents. local the tensions with increasing more to Okinawa, soldiers more and bringing was Vietnam in intervention military American the as time at the impetus “reversion movement,”gaining was which of Okinawans’ background the against when seen implication political asubtle had musician, American African an choice of John Lewis, foremost, more the and was First complicated. installation Makishi’s yellow), however, and pink bright in solelyconsisted of cows painted Pop Art. of American examples latest the knew Makishi that we surmise may magazines, art American of collection agood carried Naha in Center Cultural American Held inthelobbyofRyu¯kyu¯ Shinpo¯ building,May1967.PhotocourtesyofMakishiTamiko. Makishi Tsutomu. InstallationviewofTheWorld AccordingtoJohnLewis,1967. Other elements in the show make a clearer reference to Makishi’s aclearer show make the in elements Other to Warhol’s contrast In (which wallpaper simple of his presentation 57

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I k e g a m i | P o p as Translati o n s T r at e g y Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded 60 a r t m a r g i n s 7 : 2 Photo courtesyofMakishiTamiko. Makishi Tsutomu. StatueofLiberty,1969.Vinylpaint,pencil,silkscreenonplywood,60.5∞91.7cm. after Okinawa had reverted back to Japanese control back on May 15. reverted had Okinawa after Japan of Empire Great the to Reversion the orating Commem installation when the 1972, he mounted in satire political 44 44 other. 1971, on in the strikes major general to two and oneon hand, the 1970, in “riot” Koza legendary to the led frustration Their Okinawans. many infuriated reversion, it naturally the after Okinawa in to stay to continue US military the allow would reversion basic plan the that year. However, to that Japan clear in when it of Okinawa became tration adminis the to return President Nixon as agreed point, saw aturning work. his in or criticality of ambiguity level to control the ability artist’s the demonstrating also of US while democracy, reality the and ideal the gap between of the critique harsh artist’s conveys the images, Liberty of Statue defaced the with US of president,together the portrayal dark Okinawa and the U.S. Military U.S. the and Okinawa Inoue, For the Okinawans’ reversion movement, the year 1969 actually 1969 year reversion actually movement, the For Okinawans’ the 44 It was thus no wonder that Makishi further intensified his his intensified further Makishi no wonder that It thus was , 52–53. , exactly a month amonth , exactly ­

- Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded the Japanese flag into the Stars and Stripes and printed the Chinese Chinese the and printed and Stripes the intoStars Japanese flag the on (red circle) hinomaru the War. work, he refabricated this In Vietnam Haryu¯ critic the by Ichiro¯ the aprotest against as Nihon at Gallery the organized Anti-War Liberation, and group for exhibition he created the kyokujitu-seijo¯in Tenkataihei flag ( ki anational manipulated Akasegawa Makishi, like Japan. For instance, Empire of modern of the from 1963 to 1964), works critical created also (active Center Red Hi collective artists’ experimental ofmember the a who was Genpei, Tokyo, in contemporaries Akasegawa Pop-inspired Japanese sovereignty. to of “returning” price the occupation” was “doublethis military Asia; front in of acombined anti-Communist to Japanese ones, part as forces but also not to American only land offer would now on, Okinawa from people: for his Okinawa’s reality exposed Makishi exhibition, this Forces. words, Japan with Self-Defense of other In the guise new the under post-reversion Okinawa the now and re-entering it was Okinawa; of 1945 the Battle during death to their people Okinawan driven even and abused had Japanese army the attested, survivors many As Japanese imperialism. was target real his Rather, imperialism. state.” nation our of sake for is mission the this as expenses travel pay their shall person “Each card, on the To wrote he clearer, even years. message his make war the during Japanese government the by of color, its used was which because (“red paper”) akagami as known notice,commonly adraft used he card, invitation for the Furthermore, indigo. and green deep as such colors dark in size of on paper A4 graph were printed images These To¯jo¯ years. war of the many of Japan during Minister Prime the Hideki, of portrait a was the other and Japanese flag, the over with painted was Stripes and Stars the before,mentioned of one Iwo which was in Jima, was As images. two of silkscreens numerous with filled space was tion whole “memorable” exhibi The doubt on event. this paper, casting if as paper, but in a much more drastic manner. morepaper, amuch butdrastic in wall as silkscreens of using 1967 strategy his repeated Center, Makishi Products Okinawa space of the gallery held at the installation, For this 45 It remains unclear why Makishi chose this rather unusual venue for his exhibition. his for venue unusual rather this chose Makishi why unclear It remains Although Makishi’s in-your-face critique stands out relative to his to his out relative stands in-your-face Makishi’s critique Although went beyond American thus critique Makishi’s installation, this In of blank sheet acrumpled was there entrance, the near First, World at Peace Flag World Peace at 45 ) in 1968, which 1968, which ) in - - 61

I k e g a m i | P o p as Translati o n s T r at e g y Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded 62 a r t m a r g i n s 7 : 2 what does it mean to be an artist on an island like this? To he gave this? like this, island on an artist an it to be what mean does was: for question Makishi Warhol fundamental like did.” The art, lant anoncha why yes,that’s Ican’t make “Well, responded: Makishi tion, contradic how he felt Asked about of Okinawa.” this reality the and Art ‘America’ the of Pop between aborrowing] such in [inherent diction “contra the as characterized interviewers) one (who of was the Onaga curator of aware what the keenly he was Yet, practice, in occupied. the of that into occupier of the language artistic the to subvert attempt his section: of this beginning at the referenced 2012 interview same the in condition of Okinawa historical the explained Makishi terms, problem. noongoing In unambiguous an to it be continued whereas for Makishi past, of the athing basically 47 47 46 years. war the during flag for Japan’s motif asignature military sun, rising of rays the the work not incorporate does the although nation’s imperialism, former of his reminder aclear was title the in sun) rising ( kyokujitsu The Vietnam. in intervention military American complicit the in such theandas United of States, state vassal kind of a was Japan “pacifist” postwar that insinuated thus Akasegawa flag. of the corner each in ten characters reversion to Japanese sovereignty. sovereignty. Japanese to reversion Okinawa’s toward worked and 1972 to 1964 from minister Japan’s as prime served who A Makishi, magazines. popular American postwar and magazines wartime Japanese both sources his as using by created he which , Pop-style ous numer his in 1970s early the in memories wartime his on reflected also Keiichi Tanaami In theory, then, Makishi’s use of American Pop Art can be seen as as seen be can Pop Art of American use Makishi’s then, theory, In Okinawa. not is in over yet reversion] postwar the the [even after Japan, but Okinawa’s over reversion without be tonever mainland Some Japan’s fool era” said would forces stayed. and came “postwar US military the Then planned. had they as mainland on the ­battle afinal here, before winning battle losing but eventually tracted apro waging then, back Okinawa sacrificed Japanese state The it today. as is war, much the Japan during mainland to protect pawn a as used it was mind; but never island, an actually is Okinawa long. for this forces stationed have been military country’s another whole the world in where know, country no is other there [Y]ou Empire of Japan however, was modern the artists, For mainland ¯ tisuto no kotoba: Intabyu¯ kotoba: no tisuto shu¯ , ka , tai (which together signify “World at Peace”) signify together (which hei , and 46 , 71. The “fool” mentioned here is Sato¯ is here mentioned “fool” The , 71. Eisaku, - 47 - -

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I k e g a m i | P o p as Translati o n s T r at e g y Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded 64 a r t m a r g i n s 7 : 2 with accents and words inflected by traditional Ryu¯kyu¯antraditional by words accents and inflected with languages. languages,” Uchina languages,” Ryu¯kyu¯out the Kutouba Shima called collectively Islands, of Ryu¯kyu¯an variations many the Among through exist that languages how Ryu¯kyu¯an to treat ering work. their in dialects and languages consid have been Okinawan postwar themes, inevitable their as experiences postwar and trauma wartime Okinawans’ describing and was regarded as the de facto standard. de facto the as regarded was and the Ryu¯kyu¯ of language official the was Okinawa) meaning Kingdom of translation in both the symbolic and literal senses. literal and symbolic the both in of translation question the with engaged is the because ofpoint comparison, important an as Okinawan to postwar Iturn point At this O with T born after the 1950s speak Uchina 1950s the speak after born of people majority the Japanese, today and standard and language enous locale’s indig their spoke both bilingual—they effect were in Okinawans as a means of creative literary expression. literary of creative ameans as Kutouba Uchina for using possibilities seeking while literature, “national” to join the effort of their Japanese, part as language, anewly acquired work with authored their Okinawa in ers writ modern many aresult, As classroom. the in languages these using for were punished children that manner asevere such in Kutouba Shima suppressed and culture indigenous toward policy discrimination assimilation-cum- took an Japanese subsequent and governments 52 52 51 51 50 ranslating the Untranslatable: Com Untranslatable: the ranslating After the “Ryu¯kyu¯ the After however, Meiji the 1872–79, in Disposition” Okinawa bunka no kiseki 1872–2007 kiseki no bunka Okinawa in Times”], the Confronted That Representation hyo¯gen” na Ethical Okinawa: in rinri-teki shita [“Literature Ko¯dan-sha, O and 251–67, 2011), [ hen sakuhin bungaku Okinawa Gendai in Literature?”], Okinawan Contemporary Is [“What ka” nani towa bungaku gendai “Okinawa Minato, Kawamura see literature, Okinawan of reviews For historical Ryu¯kyu¯an Lanugages [ nagameru jugyo¯: kagai no Kutouba Shima Ryu¯kyu¯ Hiroshi, Ishizaki languages: wo rekishi no go Ryu¯kyu¯an of complexity and history the to guide excellent an offers book following The century. 15th the since characters Chinese and syllabary hiragana Japanese the with A spoken language that lacks its own orthography, Uchina orthography, own its lacks that language A spoken 2016). Press, Hawai’i of University (Honolulu: Okinawa from Literature Japanese Protest: of Islands eds., Rabson, Steve and Bhowmik L. Davinder and 2000), Press, Hawai’i of University (Honolulu: Okinawa from Literature Japanese Modern Exposure: Southern eds., Molasky, Michael and Rabson Steve see English, in available literature Okinawan postwar of For anthologies – shiro T shiro An Extracurricular Lesson on Shima Kutouba: Looking at the History of the the of History the at Looking Kutouba: Shima on Lesson Extracurricular An ats ¯ (literally “Okinawan mouth,” with uchina mouth,” with “Okinawan (literally guchi ] (Naha: Border Ink, 2015). Ink, Border ] (Naha: u hiro’s C hiro’s Collection of Contemporary Okinawan Literature Okinawan Contemporary of Collection ¯ shiro Sadatoshi, “Okinawa no bungaku: Jidai to taiji taiji to Jidai bungaku: no “Okinawa Sadatoshi, shiro ock ¯ (Okinawan Japanese), (Okinawan -yamatoguchi ¯ ta Shima of Shima forms or other guchi il Pa il 51 r t y (1967) p ¯ has been transcribed transcribed been has guchi arison arison 52 By1945, most , 216–23. 50 In addition to addition In , or “island , or “island ] (Tokyo: ] (Tokyo: ¯ -

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- - Downloaded from http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf by guest on 24 September 2021 September 24 on guest by http://direct.mit.edu/artm/article-pdf/7/2/42/720514/artm_a_00208.pdf from Downloaded in the context of postwar Japanese art, Makishi’s Political Pop a had Political Makishi’s Japanese art, of postwar context the in When seen for and is whom tradition” itJapanese exists. “national what questioned implicitly but also occupied, of the situation the to describe occupier of the language artistic the not appropriated only artist The senses. multiple in Pop therefore meaningful was American of use exclusive Makishi’s own. their as culture of visual tradition Japanese the regarded ever artists Okinawan it questionable whether is Meiji by Japan), annexed it was until China Qing then and Ming by sanctioned independence anominal kept had since a1609 invasion, Domain Satsuma of the rule the under although (which, Kingdom Ryu¯kyu¯ of the history the given Indeed, culture. of Japanese visual Uchina 55 54 andArt. Pop culture popular American of influence overwhelming the to resist strategy of their part as prints, woodblock as such culture, visual on Japanese premodern capitalized who often Tokyo the and Pop artists, Makishi between difference critical another is This once lamented. Adaniya as of Okinawa, Battle the during completely lost to follow. almost was painters However, heritage that for model Okinawan the countries—became from European of art system the Meiji as created inventions, Japan imported modern selves Japan’s mainland yo¯ga 1872 annexation, the After nihonga and Kano¯ the and period. Edo the in of painting style dominant the school, Ryu¯kyu¯ the during painting to Chinese response in developed Dynasty development of Pop Art. multicultural on the recent exhibitions prominence in international gained series the of Japanese representative Pop as Regarded Art, Art. of Pop methods production mechanical the with prints woodblock Edo from late- amotif combining by series, courtesan) (high Oiran his in Art in 1965–66 1965–66 in of Pop akind ukiyo-e devised Shinohara , for instance, 2012), 10–25. 2012), York Tokyo/New Road: Garde Avant- The Pops! Shinohara Sword,” in aSamurai Swings Wonder Woman a Motorcycle, Rides Oiran When Pops! “Shinohara Ikegami, Hiroko see series, on the For more images. Pop Goes World Tate of Modern’s cover log cata the (1966) adorned Festival Doll his while entrance, (1966) atits Oiran Shinohara’s placed prominently Pop exhibition International Center’s Art Walker the For instance, 103–11. Pop Goes World in Icons,” Reinventing Artists Japanese Pop: Contemporary Goes “Oiran Tomii, Reiko and 165–80, Thanks!’,” ‘No, More?’ “‘Drink Ikegami, see topic, this On In contrast, Makishi never used motifs from a premodern tradition tradition from apremodern motifs used never Makishi contrast, In ¯ as available artistic resources. Okinawan official painting painting official Okinawan resources. artistic available as guchi 55 , ed. Hiroko Ikegami and Reiko Tomii (Albany: SUNY Press, Press, SUNY Tomii (Albany: Reiko and Ikegami Hiroko , ed. , as well as being used for a number of publicity publicity of anumber for used being as well , as 54 Imitation Imitation After —them - - , 67

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