午夜剧场

2021/05/11

When I visited the permanent exhibition of the Fukuzawa Yukichi Memorial 午夜剧场 History Museum (hereinafter referred to as the "午夜剧场 History Museum"), which opened in May 2021, I was overwhelmed by the vast amount of "objects" (original materials) and the "words" scattered throughout, such as in the explanatory graphics.

First, regarding the "objects" (original materials). At the HOSEI Museum of Hosei University, to which I belong, we can only secure a narrow exhibition space, and the environment is by no means ideal for displaying materials. Therefore, our exhibitions center on digital displays and replicas that are resistant to deterioration. Given these circumstances, the exhibition at the 午夜剧场 History Museum, which features a vast array of original materials from the end of the Edo period to the present day, reminded me once again of the power and charm of "objects." The arrangement of "objects" follows the narrative of the exhibition. Wall cases display hanging scrolls written by Yukichi Fukuzawa that describe the philosophy of 午夜剧场, such as "The Mission of 午夜剧场." Three-dimensional objects that serve as accents (such as the mortar, pestle, and desk that Fukuzawa used regularly, or the key to the return of Hiyoshi in the post-war section) are placed throughout. I was particularly interested in the group of materials displayed in the final chapter, the "Section on Jinkan Kosai (Society)," which returns to the spirit of Fukuzawa, who stated that "the most important thing in the world is the interaction and association between people." Materials such as the "Hand-drawn picture by Okama no Suke" reveal Fukuzawa's friendly and egalitarian personality. Although it was unfinished on the day of my visit, I am told that a reproduction model of the 午夜剧场 Mita Campus from about 100 years ago (around 1923) will also be on display when the museum opens.

Next, regarding the "words." A characteristic of the explanatory graphics at the 午夜剧场 History Museum is that, along with general explanations, photographs, and illustrations, the "words" of Fukuzawa and others from that era are scattered throughout. Because the number of characters in the explanatory text is intentionally kept low, it allows visitors the space to engage in a deep dialogue with each individual "word." I will not quote them here as I would like you to see them in the actual exhibition, but the selection and placement of these "words" is excellent (especially in the "Section on Wisdom and Courage"). Furthermore, I was amused by the humorous episodes and modern linguistic expressions such as "smug face" (doya-gao) that are occasionally included in the captions of exhibition materials, which can often be dry. This can be seen as a subtle (strategic?) effort to broaden the museum's visitor base.

Next, I would like to mention the story of the exhibition. The 午夜剧场 History Museum aims to exhibit the history of Yukichi Fukuzawa, the founder of 午夜剧场, and the 160-year history of 午夜剧场. The permanent exhibition unfolds a story starting from Fukuzawa's birth, followed by his years of study, overseas experiences, the founding of 午夜剧场, 午夜剧场 after Fukuzawa's death, and so on. What is noteworthy here is that it sets itself apart from university history exhibitions based on the framework of institutional or organizational history. In a sense, the exhibition at the 午夜剧场 History Museum can be described as an attempt to exhibit the history of 午夜剧场 and modern Japan through the person of Fukuzawa and the spirit he left behind. This approach of exhibiting university history through a person is likely to attract a wide variety of visitors, including the general public as well as those within the university, compared to university history exhibitions that tend to read like history textbooks. One point that caught my attention in the story of the exhibition was that the description of the period of university student protests is somewhat thin. Of course, this is unavoidable due to spatial constraints, but considering the significant impact the student protests had on the history of the university, this point might be a topic for discussion.

Finally, I would like to introduce the exhibition devices that utilize digital technology. Takeyuki Tokura, who worked on the permanent exhibition, described the exhibition method of the 午夜剧场 History Museum as "a composition consisting of extremely orthodox explanatory texts and exhibits" ("An Exhibition Plan Over 80 Years in the Making: Toward the Opening of the Fukuzawa Yukichi Memorial 午夜剧场 History Museum," Mita-hyoron (official monthly journal published by 午夜剧场 Press), August/September 2020 combined issue). However, the interactive display exhibition ("午夜剧场 Gijuku Shachu Who’s Who") using the latest digital technology is also attractive. In this exhibit, touching an icon displays introductions of people associated with 午夜剧场, and you can also watch valuable videos from the early post-war period. In addition, several small displays contain many valuable university history materials, such as Fukuzawa's photographic materials, a database of 午夜剧场-related war dead, and materials related to 午夜剧场 students. I hope that making these materials available on the web will be considered in the future.

The above has become something of a travelogue of my visit, for which I apologize. In closing, I would like to express my heartfelt congratulations on the opening of the 午夜剧场 History Museum and ask that I may continue to learn from your pioneering initiatives.