Popular Protest in Post War Japan: The Antiwar Art of Shikoku GorōMain MenuOverviewThis exhibit explores the vibrant grassroots artistic culture of Hiroshima, known as the atomic bombed city. From 1949 through the 1990s, local artist Shikoku Gorō advanced a bold and democratic vision for cultural life by bringing poetry to the streets & mobilizing visual arts to represent the vitality, beauty, and complexity of Hiroshima. The exhibit explores a set of influential books, along with other examples of socially committed art. Shikoku and his circles of collaborators illuminated pathways to civic engagement for the citizens of Hiroshima—hibakusha (atomic bomb survivors), vets, & younger generations.Atom Bomb Poetry CollectionThe Angry JizoHiroshima SketchesGlossaryResourcesAcknowledgmentsAnn Sherif99c9850c7ffbc663daa16feec7b9f1dd71ca3e2e
Tōge Sankichi Oil Portrait
1media/toge-holding-journal_thumb.jpg2020-06-10T21:35:30+00:00Max Mitchell5fec7a6574d32fe574c01ba927cd57c749ceca6993Portrait of Tōge Sankichi by Shikoku Gorō, oil on canvas, 1977.plain2020-07-28T22:29:56+00:001974Shikoku HikaruphotographMax Mitchell5fec7a6574d32fe574c01ba927cd57c749ceca69
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12020-05-26T15:14:02+00:00Tōge Sankichi2plain2020-06-14T15:16:32+00:00The Our Poems circle’s impact cannot be separated from its founder and editor, revered poet Tōge Sankichi (1918-1953). Tōge’s charisma, passion for art and politics, and dedication to social justice attracted many young people to join the Our Poems Circle. As a hibakusha (abomb survivor) with seriously compromised health, Tōge needed his fellow circle members to visit him. Indeed, his apartment became the center of the group’s literary and political activity. In Shikoku’s portrait, Tōge stands youthful and pensive before a repaired brick wall of the A-bomb dome near the hypocenter, holding a copy of the Our Poems journal in one hand. The graffiti on the wall in English above Tōge’s head speaks to Hiroshima’s international reputation as the start of the nuclear age. A native of Hiroshima, Tōge Sankichi started reading and writing lyrical poetry, waka, and haiku as a youth. He was not drafted during the war due to lung disease, and survived the bombing at home, 3 kilometers from the hypocenter. He became a Catholic, and in 1949 joined the Japan Communist party. True to the democratic culture of the age, Tōge worked actively as a leader and mentor but emphasized the egalitarian nature of the circle by heavily featuring the work of the young members in the journal.