What Are the 2020 Tokyo Olympics? Exploring the Historical Significance of the Two Tokyo Olympics―①

The 1964 Tokyo Olympics brought about Japan's postwar recovery and dramatic improvements in social infrastructure, signaling its entry into the ranks of advanced nations.
This dialogue features Mr. Mitsuhiro Yoshimoto, deeply involved in the cultural program for the 2020 Tokyo Olympics, and Professor Toshiya Yoshimi, whose research spans urban theory and cultural sociology (cultural studies).
Reflecting on history, they presented the cultural direction needed for the Tokyo Olympics five years later—now facing new challenges in its mature phase.

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Memories of the 1964 Tokyo Olympics

Yoshimi: Mr. Yoshimoto and I are of the same generation and experienced the 1964 Tokyo Olympics as children. What memories remain for you?

Yoshimoto: It was held the year before I entered elementary school. Since most people a year younger than me have no memory of it, I suppose I'm right on the edge of those who do remember. What stands out vividly is going with my mother to see the torch runner in the countryside of Tokushima, and the orange booklet they handed out at the time.

Yoshimi: I remember Yatsuba Kōkichi and the volleyball "Witches of the East," though that might be something imprinted on me later. But what really comes back to me is the closing ceremony I saw on TV. I was amazed by the sight of athletes from all sorts of countries coming in mixed together. The actual scene was different from what I'd expected, with this incredibly carnival-like atmosphere. I think it was an experience that shook up some of my nationalistic preconceptions.

Yoshimoto: That's quite the memory (laughs).

Yoshimi: I grew up in Tokyo, and I remember Komazawa Stadium, built around the same time. While the Yoyogi Olympic Stadium was celebrated as a monument, I think Komazawa Park was exceptionally well-integrated with the local community. Back then, development was solely focused on high economic growth, but I believe it's important to remember that Komazawa was building a park for the next era, one that would be cherished by the neighborhood.

Now, looking back, I think the 1964 Olympics included aspects that weren't necessarily positive. What are your thoughts on that?

Yoshimoto: The strong impression remains that the Olympics triggered the wave of high economic growth. My father worked for the Tokushima Prefectural Government. Back then, building the Honshu-Shikoku Bridge was a dream for people in Shikoku. Tokushima is famous for the Awa Odori dance, and the prefectural government's dance troupe was named the "Bridge of Dreams Troupe." Their yukata and lanterns featured large images of suspension bridges. Ultimately, three bridges connecting Tokushima, Kagawa, and Ehime were built, fulfilling that long-held wish.

Another memory is about attracting nuclear power plants. For summer homework, I once drew a picture of a pressurized water reactor based on a pamphlet my father brought home, without even understanding the principle. Ultimately, only the Ikata Nuclear Power Plant in Ehime Prefecture was built on Shikoku. But nuclear plants and the Honshu-Shikoku Bridge represent burdens that aren't insignificant for future society. Even if it was the flow of the times, it wasn't all positive, was it?

Yoshimi: Japan's first nuclear plants, Tsuruga and Mihama, began operating in 1970, supplying all their power to the Osaka Expo. The history of nuclear power saw accelerated efforts for hosting initiatives around the time leading up to the Olympics, with actual movements starting around the time of the Osaka Expo. So, the Olympics, the Expo, and nuclear power were truly moving as a set.

Tokyo was also a period of overwhelmingly prominent civil engineering projects. I lived near the 8th Circular Road, and as a child, vacant lots were filled with clay pipes and construction materials, making them perfect playgrounds. Back then, traffic congestion was the biggest challenge. Visitors arriving at Haneda Airport needed to be transported quickly to the city center or the Yoyogi venue. Consequently, Tokyo's rivers were filled with highways, ruining the scenery around Nihonbashi. We must not forget that these negative aspects were the flip side of hosting the Olympics.

Yoshimoto: From my perspective living in a regional city, after the Olympics, an aspiration for Tokyo was steadily ingrained, and moving to the capital became something of an unspoken goal. When I first visited Tokyo in my second year of high school, I was simply overwhelmed by its sheer magnitude. Within that era's atmosphere, it ultimately led regional cities to all aim to become like mini-Tokyos.

The Significance and Limitations of the Tokyo Model

Yoshimi: At the 1964 Tokyo Olympics, the whole country went wild for the Oriental Witches. But who were they? They were female workers from Nissho Kaizuka. Back then, volleyball was introduced as a recreational system for workers in the rapidly growing postwar textile industry. From this group, women with exceptional athletic ability were selected. Under Coach Omatsu's Spartan-style training, they became the world's best.

Tsuburaya also came from a poor rural area in Fukushima, joined the Self-Defense Forces, and won Olympic glory. In other words, both the Oriental Witches and Tsuburaya were chosen from impoverished rural Japan to become heroes and heroines on the grand stage of the Olympics – the very story of the 1960s. However, Tsuburaya eventually committed suicide, and the Oriental Witches went on to fairly ordinary marriages. In other words, their dream was to marry an ordinary company man and become housewives. The Tokyo Olympics happened precisely during this era. Later, the 1988 Seoul and 2008 Beijing Olympics became models, repeating this same pattern in Korea and China, spreading across all of Asia. The Tokyo Olympics had a certain universality, yet also revealed the inherent limitations of that very model.

Yoshimoto: I believe the Olympics held many meanings. Women's volleyball exemplified this perfectly. When they defeated the superpower, the Soviet Union, in the finals, a sense of unity and solidarity unconsciously emerged among the people. The entire nation then rallied together, racing toward the goal of high economic growth. I think the Expo accelerated this trend afterward. It was fortunate that the Olympics provided an experience where all Japanese people could share the same values. However, I feel this ultimately led to regional characteristics and diversity being undervalued. This is evident in the national comprehensive development plan at the time, which spoke of balanced national development, yet saw everything concentrate in Tokyo.

Yoshimi: This sense of national unity also manifested similarly in the advertising world. From around 1960, the catchphrase "Made in Japan" repeatedly appeared in ads. For example, Matsushita Electric ran a major campaign with the slogan "Proudly Made in Japan," and various manufacturers actively launched ads featuring "Made in Japan."

This broader trend, including the advertising industry, aligned with the Olympics' promotion in terms of image. It can be said that Japan's national identity, shattered in 1945, was reconstructed. The pillars of this reconstruction were massive development projects like nuclear power plants, the Seto Ohashi Bridge, and the Metropolitan Expressway, as well as technological development creating various new products. In other words, it wasn't just about the physical aspects of sports; it was about a movement to become a world-class nation through the thorough training of people's abilities and technological prowess.

Yoshimoto: I completely agree.

Lessons from the London Olympics

Yoshimi: While both the 1964 and 2020 Olympics were held in Tokyo, what must change? Broadly speaking, the 1964 Olympics were a kind of catch-up event, an international occasion during Japan's period of reconstruction and economic growth. In contrast, Japanese society in 2020 was certainly not in that phase. To put it positively, it was a mature society facing an era of population decline.

Yoshimoto: This is a very broad statement, but in 1964, the mood was filled with a determination to look to the future and forge ahead. But 2020 is the opposite. It must be a turning point where we reflect on what Japan's history of modernization has been, look back at what we have built so far, reconstruct it, and find the next form we should take.

Yoshimi: In that sense, rather than the Seoul or Beijing Olympics, I think the 2012 London Olympics are highly instructive. What exactly was the cultural program for the London Olympics?

Yoshimoto: In the 2012 Olympic bid race, Paris was initially considered the overwhelming favorite. In response, London positioned the redevelopment of its eastern districts as a major goal and made proactive proposals for its cultural program.

Paris, seemingly certain of hosting, held a victory parade before the IOC Session, which reportedly upset some IOC members (laughs). Jude Kelly, central to London's bid, repeatedly emphasized to stakeholders that the Olympics are not just a festival of sport, but a festival of humanity. She is now the Artistic Director of the Southbank Centre, the UK's largest national cultural institution. As the Olympic Charter states, "to integrate sport with culture and education," she strongly advocated returning to the spirit of Coubertin.

Proposals based on this philosophy were included in the bid file. Once the bid was successful, the Cultural Olympiad commenced immediately after the Beijing Olympics concluded. It ran for four years, culminating in the London 2012 Festival—a massive international arts festival spanning 12 weeks during the Olympic period. The total number of cultural events held during this period reached 180,000, with 5,400 new works commissioned specifically for the occasion.

What I consider crucial is that these events weren't confined to London but took place at over 1,000 locations across the entire UK. This included natural environments and World Heritage sites. A famous example was the Peace Camp project. This involved setting up 2,000 tents on eight beaches across Britain, where participants listened to environmental music and readings of love poetry while contemplating peace. Through its cultural program, the Olympics were promoted as an event for the entire nation, emphasizing its importance for shaping Britain's future.

Yoshimi: I deeply resonate with the idea of the Olympics returning to its roots as a human celebration. A crucial aspect of the Cultural Olympiad was its expansion beyond London to regional cities.

The Needed Connection with the Regions

Yoshimi: In the bid for the 2020 Tokyo Olympics, it seemed they highlighted Tohoku's post-disaster recovery and the Fukushima issue, suggesting the potential for a nationwide Cultural Olympiad. But can the Olympics be concretely linked to cultural revitalization in regional areas?

Yoshimoto: When considering culture, I believe the timing of the Olympics following the Great Earthquake carries profound significance. Tohoku is often called a treasure trove of performing arts and festivals, yet beyond some tourism, it had faded from the collective memory of many Japanese people. After the disaster, even without homes or workplaces, people insisted on holding festivals. Even when lion heads and costumes were swept away by the tsunami, they vowed to continue their local performing arts. This reawakened the richness of Tohoku's traditional culture.

To expand cultural programs nationwide, I hope the focus in Tohoku and the disaster-affected areas will be on traditional performing arts and festivals. Ultimately, festivals are about the bonds between people – they are human celebrations. I believe this aligns deeply with the Olympic ideals.

Coincidentally, the Sanriku International Arts Festival was held in Ofunato this August. It brought together traditional performing arts from Ofunato and across Iwate Prefecture, but the Kanetsu-ryu Urahama Lion Dance was particularly moving. Apparently, the seven regional groups had previously performed separately, but through the efforts of the lion dance coordinator and a call from a Kyoto NPO, all seven groups danced together for the first time in a grand ensemble. Performed outdoors after the rain had stopped, it was an incredible experience, truly feeling like the earth and sky were connected.

The festival also featured Balinese dance and Korean traditional performing arts, yet there was no sense of incongruity whatsoever. It truly reinforced how Asia shares common cultural rhythms and how the "connecting power" inherent in culture and performing arts is profound.

Yoshimi: As we approach 2020 and expect an increase in tourists and international visitors, it becomes crucial to draw as many people as possible not just to major cities and tourist spots, but also to these kinds of local scenes. Even if it's just for a short time, seeing various local scenes could be a major turning point that fundamentally changes their perspective on Japan. But are there concrete ways to achieve this?

Yoshimoto: What if we created something like a "Japan Culture Michelin Guide," selecting about 2,020 sites—roughly 50 per prefecture? The idea is to showcase local cultural resources we want to promote internationally—whether traditional heritage or B-grade gourmet—by establishing accessible sites and welcoming visitors in languages accessible to people from all countries. This would encourage local communities to think more seriously about their culture and actively seek visitors.

On the other hand, some argue that visitors to Japan come primarily to see the Olympics, not its culture. Indeed, research shows that at the London Olympics, aside from a few world premieres, most audience members were local—that is, British. However, I believe the Olympic cultural program offers a prime opportunity for Japanese people themselves to recognize the richness of their own culture. With thoughtful ideas and mechanisms, it could become an excellent chance to showcase Japan as a nation of culture to the world.

Yoshimi: Simultaneously, we must recognize that what is happening in local areas like the Sanriku region of Tohoku has also been occurring in Tokyo throughout the postwar period. What we experience in Tokyo, what we see beyond Tokyo, and how we create mechanisms to connect these places through circuits – these are all necessary considerations.

[Continued in Part 2 (Final)]

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*The full text is available on the Yoshida Hideo Memorial Foundation website.