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Shift from PostT-Modernism to Multi Culturism |
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| The process of modernization in Okinawan society was over in early
1980's. Landscapes changed and Okinawa came out from its old image of
islands of tragedy to southern paradise. As a highly consumer-oriented
economy and culture started to penetrate into Okinawa, Okinawan local rituals and indigenous ceremonies became "festival of southern island." In a sense,
Okinawan ethnicity became a commodity and was consumed as a sign in post-modern society. As Okinawa began to share common aspects of mainland Japan, it started to reconsider its locality, longing for Okinawa's identity. Looking at the Okinawan art scene in this period, it can be said that goal of modernism in post-war period was technically achieved. Private and public galleries opened one after another and a number of exhibitions increased with urbanization. It seemed that in this period, paradigm shift occurred in Okinawas' mentality. Okinawans developed an inferior complex when they compared themselves to mainland Japan but later realized it was more of a cultural difference. After Okinawan artists accomplished the first goal to be equal with mainland Japanese artists technically, then they started to look at differences positively between Okinawa and mainland Japan. After the arrival of new teachers such as Teizo Nagatsu, from mainland to University of the Ryukyus caused a positive influence to the Okinawan art scene. They joined young local artists and established galleries and curated exhibitions by themselves. Kojiro Nose and Yuko Nose introduced a new horizon of sculpture by organizing symposiums. They worked with a concept of space and relationship. Also new generation of artists appeared; Eiji Aoyama and Morihiro Yamauchi were the artists who had already internalized the language of contemporary art. |
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