In April 2024, a staff member in charge of social symbiosis was assigned to all the cultural facilities operated by the Tokyo Metropolitan Foundation for History and Culture. What kind of role does a person in charge of social symbiosis at a cultural institution play? We talked to four of the new staff members who joined the team only six months ago. The first part is a roundtable discussion, and the second part is an interview with each individual.
* Department names and titles are current as of the date of the interview.
Who is in charge of social symbiosis?
-- Tomoko Tsukihashi works Tokyo Bunka Kaikan, and Seiko Funanokawa works at Tokyo Photographic Art Museum. What kind of work do you do as social coexistence specialists?
Tomoko Tsukihashi (hereafter Tsukihashi): Simply put, the role of social coexistence officer is to deliver culture to everyone. The work content varies depending on the facility, as do the scale and genre, but at Tokyo Bunka Kaikan, an important task is to coordinate various matters within the facility.
Seiko Funokawa (Hereinafter, Funanokawa): Before I joined the group, I was mainly from the perspective of the users of museums, museums, and theaters, and I thought it would be nice if more people could enjoy the facilities. Even if it's a place where you feel comfortable, there are always people who don't. What we saw at that time is now being put into practice in the field with specific plans.
Next, I would like to ask Ms. Yuriko Komai and Ms. Yukiko Otaka from Arts Council Tokyo. Arts Council Tokyo is an organization that provides intermediary support. What kind of initiatives does it undertake?
Yukiko Otaka (Hereinafter referred to as Otaka): My job is to act as a liaison between the Tokyo Metropolitan Government and 10 facilities run by the Tokyo Metropolitan Foundation for History and Culture. For example, we summarize the opinions of customers and workers at facilities and convey them to the Tokyo Metropolitan Government. We also discuss with each facility what the Tokyo Metropolitan Government is aiming for. Like Funonokawa, I used to use cultural facilities as a user before I started this job. However, as a deaf person, I felt frustrated that I could not participate in the viewing because of the lack of information security, such as the lack of subtitles for video exhibitions and the lack of sign language interpretation at events. We want accessibility to be more like an infrastructure, not a consideration for a specific person.
Komai Yuriko (hereinafter Komai): Shortly before we were assigned to the position, the Tokyo Metropolitan Government, the Tokyo Metropolitan Foundation for History and Culture, and Arts Council Tokyo launched a project to improve accessibility called "Creative Well-Being Tokyo." It's not like Tokyo's cultural facilities hadn't done anything up until then. Individual efforts had been underway on a daily basis. Earlier, Otaka-san mentioned "infrastructure," but accessibility is something that should be taken for granted. As awareness of this grew, we were assigned as full-time staff in charge of social coexistence to tackle the issue as an organization and system. One of the reasons behind this was that the Tokyo Metropolitan Government had set a goal of improving accessibility to arts and culture by 2030(*) as a policy goal.
*In response to the 'Future Tokyo' Strategy and the Tokyo Cultural Strategy 2030, the Tokyo Metropolitan Foundation for History and Culture formulated the Tokyo Metropolitan Foundation for History and Culture Long-term Vision 2030, which aims to support the sustainability of Tokyo through the power of art and culture and contribute to the realization of a symbiotic society that respects the diversity of people.
-I think it is necessary to change the awareness of the management in order to develop the infrastructure as a matter of course. Are they the flag bearers?
Tsukihashi: That's right. In the case of Tokyo Bunka Kaikan, we need to work together with all departments within the facility. When improvements or new facilities are needed, we don't just communicate with a specific department; we try to coordinate so that all departments are satisfied and can proceed.
Funanokawa: While the Museum of Photography isn't as large as Tokyo Bunka Kaikan, we still need the cooperation of all departments, and we often collaborate with those who directly interact with customers, including reception, security, the shop, and cafe. While I'm the leader, I feel like I'm broadening the scope of what we've been doing so far, rather than starting from scratch. For example, when it's my turn to check an exhibition poster, I also consider visibility, such as color and contrast ratio, from the perspective of accessibility. While taking into account the intention of the design and expression, I sometimes say, "Aren't the colors a little too light?" When the social coexistence officer raises issues that are often overlooked or given low priority, they are brought to the table. That's perhaps the significance of having a full-time position.
Otaka: Poster design is one thing, but there are many challenges in how to balance important artistic points such as works and events with accessibility. However, when customers point out that there are some shortcomings in terms of accessibility, it is important not to ignore them, but to take them in their stride.
work to reduce the negative to zero
--As the coordinator for improving accessibility at Tokyo Metropolitan cultural facilities, Arts Council Tokyo organizes meetings that bring together social inclusion officers from all facilities. This must be a valuable opportunity for them to meet face-to-face on a regular basis.
Komai: A monthly liaison meeting. We communicate, exchange opinions, and listen to opinions. I think the most important thing is that this conference is a place where people in charge of social symbiosis can gather together. Each of them has a different job, but I hope it will be a place to confirm common goals and doubts. It is my personal intention to make it not just a meeting but a meeting that I can look forward to going to.
Funanokawa: I'm glad I went every time, not as a compliment. I also appreciate the breakout sessions. The other day, there was a subcommittee on tactile maps (maps that visually impaired people can touch with their fingers to confirm space). A tactile map specialist came and showed us various examples of other facilities, and taught us the key points and schemes for making them.
Tsukihashi: There will be a subcommittee on "Easy Japanese" soon.
Funonokawa: The people in charge of social symbiosis do not necessarily have specialized knowledge of symbiosis. In the first place, the area of social symbiosis is very wide. I also had a different job until I joined the team, so I'm learning about various things from scratch. In our building, I tend to be the only person in charge, so it's reassuring to be able to meet the same person in charge of social harmony at liaison meetings and subcommittees.
Tsukihashi: It's great to be able to bring back a sense of reassurance. It is also a place where you can exchange information and consult, such as "They're already working on this, so let's ask them."
Komai: We try to finish the meeting as early as possible and let people use the remaining time freely. Recently, we have been receiving requests from people who want the meeting to be like this, or who want to talk about this kind of thing, which makes us happy as the organizers of the meeting.
Otaka: I sympathized with what Mr. Komai said at the liaison meeting, "We're not doing great, we're doing the obvious." I want to keep working with those words in mind.
Funanokawa: It's not the image of doing the minimum and doing something even better.
Tsukihashi: I was also impressed when Mr. Komai said at that time, "We are moving from minus to zero."
Komai: This is my personal policy, but I recognize that we are starting from a negative position. Let's think about positive things after they reach zero. Right now, cultural institutions are in a negative state when it comes to accessibility. The job is to reduce it to zero.
(Continued in Part II)
Interpreters: Naoko Iizumi, Yuki Toi
Creative Well-being Tokyo
This project aims to improve accessibility to cultural and artistic institutions so that everyone, from infants to the elderly, people with and without disabilities, and people with foreign roots, can easily meet and participate in cultural institutions and art programs. We will cooperate with cultural institutions in Japan and overseas and NPOs involved in local issues, and promote initiatives necessary for future cultural and artistic activities by utilizing their perspectives and experiences.
Organized by: Tokyo Metropolitan Government, Arts Arts Council Tokyo Metropolitan Foundation for History and Culture
https://creativewell.rekibun.or.jp/about
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