Convey victims’ suffering or focus on artifacts?
Oct. 23, 2013
Controversy surrounds removal of mannequins from Peace Memorial Museum
by Michiko Tanaka, Aya Kano and Kyoko Niiyama, Staff Writers
Opinions are divided regarding plans to remove the plastic mannequins depicting A-bomb victims from the Hiroshima Peace Memorial Museum. On October 18 the city announced that the mannequins would be removed in March 2016. Taking a firm stance, the city has said that the plan is based on its belief that victims’ personal belongings and other artifacts have greater “appeal.” Meanwhile citizens opposing the removal of the mannequins contend that they play an important role by helping visitors imagine the suffering of the victims. The controversy surrounding the mannequins has raised the issue of how the atomic bombing should be conveyed.
On October 18 Tomoko Okazaki, 67, a housewife from Kawasaki in Kanagawa Prefecture, saw the mannequins on her first visit to the museum. “They have a tremendous impact,” she said. “They’re necessary to convey the reality of the devastation.” On the other hand, Keiko Higuchi, 45, a company employee from Tokyo, said, “What moved me were the charred belongings of the victims. They have a power that only actual objects from the bombing possess.”
The controversy began in March when the City of Hiroshima informed the city council of its intention to remove the mannequins. Hiroshima resident Akihiro Katsube, 43, is leading a petition drive calling on the city to retract its plan. “Many people want the mannequins to remain on display,” he said. “Why won’t the city reconsider?” He intends to continue to oppose the plan. Some people have called on the city to provide an opportunity for a dialogue with citizens.
The current mannequins are the second set to be displayed at the museum. Shokichi Miyamoto, 72, a replica manufacturer in Kyoto, was involved in the production of the original mannequins. “Precisely because they are three-dimensional, mannequins leave the biggest impression,” he said.
On the other hand, Hiroshima resident Masaaki Tanabe, 75, a filmmaker and atomic bomb survivor, supports the city’s plan to remove the mannequins in favor of conveying the reality of the A-bombing through the display of more artifacts. “I would like the museum to pursue displaying more ‘authentic items,’ ” he said.
Yukinori Okamura, 39, is the curator of the Maruki Gallery for the Hiroshima Panels in Saitama Prefecture, which displays the works of artists Iri and Toshi Maruki. “I think the city should study the matter a little further,” he said. “The museum’s ability to convey the pain and suffering of the victims of the A-bombing must not be weakened.” He suggested the Peace Memorial Museum survey its visitors on the removal of the mannequins.
(Originally published on October 19, 2013)
by Michiko Tanaka, Aya Kano and Kyoko Niiyama, Staff Writers
Opinions are divided regarding plans to remove the plastic mannequins depicting A-bomb victims from the Hiroshima Peace Memorial Museum. On October 18 the city announced that the mannequins would be removed in March 2016. Taking a firm stance, the city has said that the plan is based on its belief that victims’ personal belongings and other artifacts have greater “appeal.” Meanwhile citizens opposing the removal of the mannequins contend that they play an important role by helping visitors imagine the suffering of the victims. The controversy surrounding the mannequins has raised the issue of how the atomic bombing should be conveyed.
On October 18 Tomoko Okazaki, 67, a housewife from Kawasaki in Kanagawa Prefecture, saw the mannequins on her first visit to the museum. “They have a tremendous impact,” she said. “They’re necessary to convey the reality of the devastation.” On the other hand, Keiko Higuchi, 45, a company employee from Tokyo, said, “What moved me were the charred belongings of the victims. They have a power that only actual objects from the bombing possess.”
The controversy began in March when the City of Hiroshima informed the city council of its intention to remove the mannequins. Hiroshima resident Akihiro Katsube, 43, is leading a petition drive calling on the city to retract its plan. “Many people want the mannequins to remain on display,” he said. “Why won’t the city reconsider?” He intends to continue to oppose the plan. Some people have called on the city to provide an opportunity for a dialogue with citizens.
The current mannequins are the second set to be displayed at the museum. Shokichi Miyamoto, 72, a replica manufacturer in Kyoto, was involved in the production of the original mannequins. “Precisely because they are three-dimensional, mannequins leave the biggest impression,” he said.
On the other hand, Hiroshima resident Masaaki Tanabe, 75, a filmmaker and atomic bomb survivor, supports the city’s plan to remove the mannequins in favor of conveying the reality of the A-bombing through the display of more artifacts. “I would like the museum to pursue displaying more ‘authentic items,’ ” he said.
Yukinori Okamura, 39, is the curator of the Maruki Gallery for the Hiroshima Panels in Saitama Prefecture, which displays the works of artists Iri and Toshi Maruki. “I think the city should study the matter a little further,” he said. “The museum’s ability to convey the pain and suffering of the victims of the A-bombing must not be weakened.” He suggested the Peace Memorial Museum survey its visitors on the removal of the mannequins.
(Originally published on October 19, 2013)
