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Interview with Imagine 21

11/17/2022

1 Comment

 
by Ray Matsumoto
Picture
In 1989, six years following his mother’s suicide, Mr. Yoshiji Watanabe was watching an interview with a Japanese woman on TV. She was one of the many Japanese women and children abandoned in Manchuria following the Soviet invasion. She stated in the interview, “The war has never ended for me.” These words deeply resonated with Mr. Watanabe. In his words, “it stirred the darkness and sin suppressed in my heart.” ​
Although Mr. Watanabe was born in 1947, the invasion of Manchuria and the Second Sino-Japanese War played a significant role in his life. As a military officer in the Japanese puppet state of Manchukuo, Watanabe Sr. attacked and abused many Chinese and Manchu locals in the name of the Japanese Empire. Following Imperial Japan’s defeat, he was charged as a Class-C war criminal. Watanabe Sr. was banned from serving public office for three years and ostracized by his community. He began expressing his frustration by physically abusing his wife. Although Mr. Watanabe knew growing up that his father was involved in the war, his family never discussed details until his father passed away in 1982.
Upon watching the interview, Mr. Watanabe convinced his wife, Mrs. Kazuko Watanabe (stage name: Yokoi), to visit Northeast China (formerly Manchuria). The trip inspired them to create their theater company, Imagine 21, and their first production titled “Reunion: Silence and Truth.” Mr. and Mrs. Watanabe continued to write two more plays: “December in Hell: Nanjing Sorrow” and “Hitomi: The Eye Holds the Truth.” While each production examines different issues of Japanese atrocities, they share a theme- Mr. Watanabe’s family. “Reunion” directly addresses the topic of Japanese settlers left behind in Manchuria and Watanabe Sr.’s war crimes. “December in Hell” and “Hitomi,” although centered on the Nanjing Massacre and comfort women, respectively, still highlight Mr. Watanabe’s story in the form of a “confession.” 
    This was the extent I knew about Imagine 21 before my interview with them. Pacific Atrocities Education somehow only had access to “Hitomi,” which was last performed in San Francisco before the COVID-19 pandemic. I was shocked when I first watched it, not only by the deeply emotional performance by Mrs. Watanabe, but the idea that a Japanese actress reenacted comfort women survivors’ testimonies. While I was excited about the opportunity to meet and learn about their work, I was incredibly nervous about the project. My fear mainly surrounded my rusty formal Japanese. Although I am fluent in Japanese, I had just graduated from a university in the U.S. and had not visited Japan since before the COVID-19 outbreak. I had little to no opportunity to speak Japanese while attending college, so the prospect of a recorded interview worried me.

Picture
“Reunion: Silence and Truth,” performed in Los Angeles by Yoshiji Watanabe and Kazuko Yokoi, 2001.
Picture
“December Hell: Nanjing Sorrow,” performed in Hiroshima, 2008.
Once I met with Mr. and Mrs. Watanabe in Tokyo, most of my anxiety was relieved. Both were incredibly welcoming and kind, even insisting that I stay for dinner. It was also evident during the interview that their guilt and remorse for Japanese atrocities were genuine. They thoroughly studied various events, such as the Japanese invasion of Manchuria, the Nanjing Massacre, and the emotional testimonies of comfort women. Their collection of books and notes showed that their research went far beyond the topics in their productions. I had told them in passing after the interview that my grandfather was Korean. Immediately, the Watanabes became remorseful, and their attitudes shifted. They both had even gone so far as to formally bow to apologize to me. I felt conflicted about their apology. Although I am part Korean, I identify myself as a Japanese person. And as a Japanese person, I also feel remorseful about the atrocities Imperial Japan committed in Asia and the Pacific. I froze in shock and could do nothing but politely ask them to stop apologizing.
    Although I knew Mr. Watanabe’s family history, I did not realize the degree of his father’s cruelty. Mr. Watanabe was the only one in his family that did not experience the war, yet he faced the consequences it left on his family. It was common for his father to hit and kick his mother. He did not describe what kind of violence his father exhibited toward him and his brother, but he describes his childhood as uneasy, anxious, and fearful. He elaborated that he was born with inherent sin, similar to “original sin” in Christianity. He felt that his father’s crimes left him no room for happiness in their lives, and a tragic event was looming. 
Picture
“Hitomi: The Eye Holds the Truth,” performed in San Francisco, 2015.
While Mr. Watanabe has grappled with sin and anxiety throughout his life, Mrs. Watanabe did not share this sentiment until later in her career. Her father never enlisted as a soldier and instead was a merchant who supplied everyday products to the army. Being the youngest of seven children, Mrs. Watanabe was also the only member of her family born after the war. Unlike her husband, Mrs. Watanabe’s father was calm, generous, and without any violent streak. She did not realize her father’s crimes until reading a book on the Nanjing Massacre in 2006. There she saw a picture of the same transport unit as her father’s. That was when she realized her family’s culpability in the war, that her father had supplied Japanese troops while they committed these atrocities. Her father had aided the Imperial Japanese Army in committing these war crimes in the Pacific. Mrs. Watanabe felt a stronger connection with Mr. Watanabe. She could finally understand the deep sense of remorse and sin that Mr. Watanabe harbored almost his entire life. This realization eventually inspired her to produce “Hitomi.”
Currently, one of Pacific Atrocities Education’s main goals is to spread Mr. and Mrs. Watanabe’s life’s work in storytelling while creating a platform that informs and educates the public about Imperial Japan’s role in the Pacific during World War II. Unfortunately, in recent years, the Watanabes have experienced health issues, including diabetes, gastric ulcer, and vaccine allergies. Furthermore, the COVID-19 pandemic continues to prevent them from performing. To help the Watanabes, PAE’s project goal to support Imagine 21 is to make their theater productions available on the internet for wider circulation. Their work is compelling, emotional, and unique. Mr. and Mrs. Watanabe have kindly permitted PAE to republish their three productions online. We plan to release them with English subtitles shortly, beginning with “Reunion” on YouTube. Please support this project to help the Watanabes by sharing this blog post and the video. Your support helps preserve these rare and essential Pacific narratives of World War II so that others around the world may continue to learn about the sacrifices and contributions of our elders and the ongoing work of local and international community members. 
母親の自殺から6年後の1989年当時、渡辺義治さんはテレビで中国残留婦人のインタビューを観て、人生が一変しました。その女性は、ソ連軍の侵攻により満州に置き去りにされた多くの日本人女性や子どもの一人でした。インタビューの中でその女性が語った『私にとって戦争は決して終わっていません』という言葉は渡辺さんの心に深く共鳴し、曰く「私の心の中にある抑圧された暗闇や罪をかき立てられた」のです。 
 渡辺さんは終戦後の1947年に生まれたものの、戦争は人生に大きな影響を及ぼしたそうです。渡辺さんの父親は傀儡国家であった満州国の将校として、大日本帝国の名の下に多くの中国人や地元満州の人々を虐げたそうです。敗戦後、C級戦犯として三年間の公職追放処分を受け、渡辺家は地域社会から孤立します。父親は不満の吐口としてやがて妻に暴力を振るうようになりました。渡辺さんは、父親が戦争に関わっていることを知っていましたが、父親が1982年に亡くなるまで、家族がその詳細に触れることはありませんでした。
 義治さんは1991年に妻の量子さん(芸名:横井量子)を説得し、中国東北部(旧満州)を訪れました。この経験が劇団「Imagine 21」の立ち上げと、初作品である「再会」の制作に結実します。渡辺夫妻は、その後「地獄のDecemberー哀しみ南京ー」と「ひとみ」を制作します。作品のそれぞれは日本の加害に関する異なる問題を取り上げているものですが、すべてに渡辺家を取り巻くテーマが通底しているといえます。 「再会」は中国残留邦人問題を焦点にあて、渡辺家と同一の家族史を抱える登場人物も描かれている。「哀しみの南京」と「ひとみ」は、それぞれ南京大虐殺と慰安婦問題を中心にしながら、義治さんの過去を「告白」という形で表している。
 ここまでが筆者が夫妻を取材するまでにImagine 21に関して得ていた知識の範囲でした。Pacific Atrocities Education (パシフィック・アトロシティーズ・エデュケーション(PAE))ではなぜか、これまでコロナ禍以前の 2015年にサンフランシスコで上演された「ひとみ」の映像しか所蔵しておりませんでした。それを初めて視聴した時、量子さんの感動的な演技だけでなく、日本人女優が慰安婦被害者の証言を再現する発想に、筆者は衝撃を受けました。筆者は渡辺夫妻に対面することを心待ちにしていましたが、同時にこのプロジェクトを任された事に関しては非常に緊張していました。一番の不安は、自分が長らく遠ざかっていた敬語を正しく使えるのかという問題に関するものでした。日本語は母語であるものの、アメリカ留学を終えたばかりの身で、しかもコロナ禍以降は日本に帰国していなかったのです。そのうえ、留学中は日本語を話す機会がほとんどなく、自分の拙い日本語でのインタビューが動画になることが心配でした。
 しかし東京で渡辺夫妻にお会いした瞬間、不安のほとんどが解消されました。お二人とも非常に親切で、取材後は食事までご馳走になりました。取材を通して、夫妻が抱えている日本の加害に対する罪の意識や悔恨の念が純粋な気持ちであることが伝わってきました。日本の満州侵攻や南京大虐殺に関する出来事や元慰安婦の証言などに関する記録を隈なく調べられており、夫妻が所蔵する書籍やメモのコレクションは、夫妻の研究が作品で取り上げているテーマの範囲を超えていたことを示していました。取材後、筆者の祖父の1人が韓国の出身であったことを話の流れの中で伝えるという出来事がありました。すると途端に渡辺夫妻がかしこまり、深々と頭を下げて私に何度も謝罪しました。韓国出身の祖父を持ちながらも、自分はこれまで日本人だという認識を持ってきました。渡辺夫妻と同じ歴史を共有する者として、同じように日本の加害の罪に対して罪悪感を感じている私は、謝罪を受けることに強い葛藤を抱いたのです。私はなにもできず、丁重に謝罪をやめていただくように頼むのがやっとでした。
 義治さんの家族史についてはすでに知っていたものの、父親がもたらした苦しみの実際についてはこれまで実感が持てませんでした。義治さんは、家族の中で唯一の戦後生まれです。しかし、戦争が渡辺家に残したものに義治さんも直面せざるを得なかったのです。父の母に対する暴力は日常茶飯事だったそうです。義治さんや彼の兄弟に対する暴力については語りませんでしたが、インタビューで子ども時代のことを落ち着きなく、不安と恐怖に満ちていたと述べました。「罪を抱えながらこの世に生まれ、幸せになることができない。何か悲劇が家族を待っている」とまるでキリスト教の原罪のようなものを、義治さんはそう表現した。
 義治さんが子どものころから罪の意識を感じていたのに対して、量子さんはImagine 21を設立するまで加害の罪の意識を抱いてはいませんでした。量子さんの父親は御用商人として生活していました。量子さんは7人兄弟の末っ子で、家族の中で唯一の戦後生まれです。夫とは異なり、量子さんの父親は温厚で、暴力を振るうことなどありませんでした。2006 年に本多勝一の南京大虐殺に関する本を読むまで、彼女は父親が犯した罪について気づいていませんでした。本の中に父親のものと同じ輸送部隊の写真を目の当たりにしたのです。その時、彼女も家族の抱える戦争責任に気づき、夫が長年苦しんできた深い罪と悔恨の念を理解したのでした。この気づきはやがて、「ひとみ」を制作するきっかけとなります。
 現在、PAEの主な目標の一つとして、渡辺夫妻の作品を広く紹介すること、そして第二次世界大戦中のアジア太平洋において大日本帝国が果たした役割について、一般の人々に知らせ、教育するプラットフォームを創造することを目指しています。近年、渡辺夫妻は糖尿病、胃潰瘍、ワクチンのアレルギーといった健康上の困難を抱えておられます。さらに、コロナ禍によって、舞台に立つことが未だに困難な状況です。渡辺夫妻を支援するために、PAEではImagine 21の作品をPAEのウエブサイトとYouTubeチャンネルを通して多くの人々に提供するプロジェクトを進めています。渡辺夫妻の作品は非常に力強く、感動に満ち、独自性の高いものといえます。渡辺夫妻のご厚意で、PAE が三作品をインターネットに公開することを許可してくださいました。 近日中に、PAEのYouTubeチャンネルに「再会」を英語字幕付きで公開する予定です。皆様のご支援によって、これらの貴重できわめて重要な第二次世界大戦にまつわる太平洋を舞台とした物語を保存することができるのです。それによって、世界中の人々が、先人たちの犠牲と貢献について、そして地域社会・国際社会の人々が携わる様々な活動について学び続けることが可能となるのです。
1 Comment
Alista
1/7/2023 06:19:42 pm

Japanese pig needs to be executed for his filthy crimes. The entire Japanese race is GUILTY!

Reply



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        • Duties of Unit 731
        • Human Experimentation
        • [GRAPHIC] Germ Warfare Attacks
        • Cover Ups After the War
        • [OLD] Cover Ups After the War
      • Philippines' Resistance - Guide >
        • Philippines World War II Timeline
        • The Japanese Invasion & Conquest of the Philippines
        • Bataan Death March
        • Formation of Underground Philippines Resistance
        • Supplies of the Guerrilla Fighters
        • The Hukbalahap
        • Hunter's ROTC
        • Marking's Guerrillas
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      • Fall of Singapore - Guide >
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        • The Employment of the Bacteriological Weapon in the War
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        • Establishing Manchukuo
        • The Development of Unit 731
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        • Lasting Impacts
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        • Operation U-Go
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        • The First Battle of Shanghai 1932
        • Battle of Shanghai 1937
        • Aftermath of Battle for Shanghai
      • Ishi Shiro - Guide >
        • History of Biological Weapons and The Young Ishii Shiro
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        • Pingfang District - Harbin
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      • Taiwan The Israel of the East - Guide >
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        • The French Colonial Period
        • Anti-Colonial Resistance
        • The Rise of the Communist Movement
        • Imperial Japan’s Entry into Indochina
        • The Portents of Famine
        • The Famine (1944-45)
        • Legacy of the 1944-45 Vietnam Famine
      • Clash of Empires - Guide >
        • Japan’s Imperialist Origins
        • Japan’s Competition against the West: Nanshin-ron and Hokushin-ron
        • Japanese Imperialism Through the Lens of French Indochina
        • The U.S.-Japan Relations and the Pearl Harbor Attack
    • Lesson Plans >
      • Reparations
      • Ethics in Science
      • Writing the Narrative of a Pinay Fighter
      • Privilege Journal
      • Environmental Injustices
      • Female Guerrillas
      • Hunter's ROTC
      • Scientific Advancements
      • Seeking Justice: A Humanities Lesson Plan
      • The Hukbalahap
      • Trading Immunity
      • Bataan Death March
      • Biochemical Warfare Development
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