Reconsidering the art festival in post pandemic: Briefing on "rebooting" Kohabi-tai

The Briefing on “rebooting” Kohabi-tai was held on 15 July 2020 at Art Front Gallery (in charge of planning and operating ETAT) in Tokyo while connecting with another venue in Tokamachi-city as well as welcoming people participating via on-line.

Kohebi-tai is a name given to supporters which established in 2000 as the first ETAT took place. As volunteers, they have been helpful and engaged with diverse range of activities including maintenance and production of artworks, attending visitors in addition to clearing snow in winter, farming and helping other chores in the local communities. The number of people, young and old, who have participated as Kohebi exceeds 3000 inclulding those from around the Kanto area in Japan as well as people from abroad.

Kitagawa described Kohebi-tai as “a very unique movement in the global landscape” and expressed his gratitude. Although the Kohebi-tai has been expanding in the last twenty years, he mentioned that there is a challenge of passing on the best element of ETAT and its supporting unit, Kohebi-tai, to future.

Kitagawa：What both ETAT and Kohebi-tai are built upon is a desire to do something to the community of Echigo-Tsumari and old people in the region. How we can continue to consider this initial desire is a challenge that will lead to reconsider future. In addition, we have been affected by the pandemic caused by new corona virus. The number of visitors from abroad in particular will be dropped significantly which encourages us to consider various aspects of the festival from zero-base.

This briefing session began with an aspiration for transforming difficulties into the driving force for moving forward.

ETAT has been groping and steadily developing in the last 20 years. 332 artists from 44 countries participated in the last ETAT in 2018, presenting 379 artworks (including 210 permanent artworks from previous festivals) in 102 villages and welcomed 548,380 visitors.

Kitagawa: Echigo-Tsumari may now be the best place where people can see most number of artists of the 21st century in the world.  On the other hand, the world is facing various issues including climate change, refugees and migrants, continuation of colonial system, the limits of capitalism, and increasing in inequality and poverty. While some of these may seem to have been around since the Age of Discovery in 500 years ago, the current pandemic seems to have brought all of these issues to the front and this is where we have to start thinking about these problems.

Kitagawa checked the seriousness of these issues by referring to some data and analysis. The data used in the presentation showed that these issues were not unrelated to us such as “one in seven children is in poverty in Japan”. Art festival doesn’t solve these social issues directly. However, it can be a starting point for people to proactively consider what can be done and take small steps for actions.

Kitagawa: The starting point of ETAT was to discover this region’s originality. It has created opportunities for exchange, learning and collaborations which then has lead to bringing visitors to the region. Since the artworks belong to the entire space of their respective surrondings, we have made travels to get to see the artworks as part of experience. In local communities facing real problems, several attempts have been made to consider the relationship between nature (civilisation) and humans, while involving governments and artists through their works.

The festival has been a medium for connecting diverse elements. Performances, workshops, highlighting culinary cultures and guided tours in addition to supports and exchanges with Kohebi-tai are part of what the festival has brought.

What has born out of these activities includes site-specitic artworks as well as exchanges and collaborations amongst different groups of people within and outside the region. As we face post-pandemic challenges, Kitagawa describes these assets of ETAT as the initial enthusiasm, “that is something to return to when we lose the future direction.

Moreover, he has always tried to “go up to the ring (dohyo) with opposit party” as he has worked together with the public bodies and local communities. It was important to do so rather than proceeding forward only with people who agreed with the festival from the begining. This perspective has also lead to the following keywords “diversity: global/local”. Diversity here is represented not only by artworks but also by Kohebi-tai which attracts people from different regions with diverse cultural backgrounds and ages.

The information briefing was followed by Q&A from the attendees. One of the questions asked by the local supporter connected on-line from the venue in Tokamachi-city went “I understood that the nature of Kohebi-tai was to contribute to the rural revitalisation. Does it mean that everything relating to supporters’ activities will be brought back to what it was in 2000?”

Kitagawa answered as follows by saying “this is slightly sensitive as it is about how much the General Director (myself) should intervene with people supporting the festival.”

Kitagawa：”From my perspective, it is always clear what ETAT tries to achieve”. So I would think if someone is interested in what it is, they should join at first.” In this regard, he expressed that he has actually been deeply chagrined as he has observed that the point of discussion amongst supporters has focused on “how they should be”.

Of course, I would like to welcome their willingness to try something new. However, what has been most important from the very begining was to support the installation and maintainance of artworks and their venues. For example, the reception at an artwork is the front line of the festival. However, it is rare to see people are willing to take up this role. I am hopeful to discuss, including these points, and review together what this art festival actually tries to do.

He also mentioned that “rebooting” including such discussion, was something he has been thinking about regardless of the current pandemic. It is difficult for people coming from outside of the region to visit Echigo-Tsumari. Local people, on the other hand, face other difficulties caused by the ageing of the population. He, therefore, suggested that the first and crucial step is to find “an alternative way for everyone involved to make something that can be done.” Exchanging concrete opinions will be important in order to make it happen.

To the question from a person participated on-line, “if any consideration will be given to people such as student who is willing to participate but finds it difficult to afford”, he answered “(the project office) should be able to organise transport between Tokyo and Echigo-Tsumari. We understand some people are currently experiencing difficulties. We would like to find a way as we receive feedback from those participants. ”

Some suggestions including the following were also made: “ETAT, as a well-established event, could apply for the COVID-related grants and fundings and make the event more accessible for those interested.” “Find out what former Kohebi members are doing now and seek for their advices and suggestions from theier own experiences”.

Kitagawa replied that he would consider these points immidiately. A person in charge at Tokamachi-city council also promised to consider a few suggestions made during the Q&A. He also expressed his enthusiasm to establish a firm connection with the local people.

Kitagawa then concluded the briefing as follows:

Kitagawa：I would like to revisit where we started as I will listen to your opinions – like we did so today. Thank you very much for joining today. I will keep you update.

While “reboot” switch has been pressed already, the crucial moment still awaits us. ETAT is determined to move forward with Kohebi-tai and supporters to deliver the festival next year as well as develop a long-term vision for its future endeavour.