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Map of Teruya V.1

Sketches of Teruya (Jan ~ Mar 2020)

The “Sketches of Teruya” Exhibit (January ~ March 2020 introduced a new map of Teruya, a district which thrived economically in the 50s and 60s during which thriving economic district that developed in the aftermath of WWII in the initial stages of American military occupation on Okinawa.

Exhibits

Sketches of Teruya (January-March 2020), an exhibition that I developed and presented for Koza X MiXtopia Research Center, an independent art and research space I opened in Teruya, Okinawa. It features updated maps of Teruya, a district in Okinawa that thrived economically after World War II in the shadow of the American Occupation of Okinawa (1945-1972). Map elicits a site/sight of remembering for those individuals to instinctively fill the gaps by identifying the places on the map and telling stories based on experience and empirical evidence. The first edition of the new map-in-the-making was completed in December 2019 as part of an exhibition called the Sketches of Teruya Exhibit, an intertextual exhibit that consists of image, text, and a map, which together presents a MiXtory (history, story, and mystery) of Teruya in the period between the 1950s and 1960s under American military occupation of Okinawa. Before the new map, there was the oldest map of Teruya in 1970 created by the X that lists the shops, homes, bars, hotels, movie theaters, and other places that existed during the US military occupation. The 1970 map depicts the three areas of Teruya District that include the residential area, the market area, Koza Market, the shopping street, the Honmachi Dori, and the bar district, the Black District. What this map does not reveal/misses is the overlapping quality of the three areas through the back-and-forth/improvisational movement of people’s crossing, re-crossing, and erasing the hard borders through the foot traffics and footprints of people and their activities that took place day and night for over 23 years. The new map maps what has been missing in both the traditional map and mainstream knowledge about Teruya to reclaim its presence and significance of place.

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The Seamstress Exhibit (March 2019)

The Seamstress Exhibit is a first series of Gender and Women Series Exhibit showcased in March 2019, which was a mini exhibit within the main exhibit, Sketches of Teruya. The Seamstress Exhibit profiled five women worked as seamstresses during the occupation era. The idea of the exhibit started with the daily conversations I had with the woman who worked next door, making tempura and Okinawan traditional bento boxes based on the lunar calendar. One day, she informed me that she used to sew at home because her husband did not want her working while raising children, but did promise after the last child gets into grade school, she could work. She waited patiently while doing work at home sewing for various company orders, one of which was to make Rika-chan doll clothes, mainly sewing buttons and hooks for the dress. Intrigued by her story, I started to ask questions to neighbors who are women about the kind of work they had done. Surprisingly, almost everyone has done some type of sewing and I was introduced to the owner who owned the most well-known sewing shop in Teruya, which led to series of interviews of the woman who still lives in Teruya. Read her memoir, which she wrote for her children and grandchildren, I took notes of her experiences owning the tailor shop in Teruya that serviced mainly the black men who bought clothes, especially one-piece tailormade dresses that she and her staff made for their American or Okinawan wives or girlfriends. Like many, the shop made huge profit not only while the soldiers were still stationed on Okinawa, but also when they left through the mail. There are five women profiled in the exhibit with various experiences that differ in their trajectory, but somewhere cross into each other’s stories in creating a highway-like feel of how the stories, the women, and the items (dresses) travel and circle the Trans-Pacific ocean from Okinawa to America and back-and-forth. For example, the photo of four one-piece dresses as part of the exhibit was the actual dresses that an Okinawan woman who now lives in the States owns as part of her collection of Okinawan goods. The tag in the back of the dresses is hand-sewn the name Alice Tailor-made in Koza, matching the name of the shop found the map, but written in Japanese. These dresses, tailored made in Okinawa by Okinawan women for American soldiers who took to the States and subsequently, the wearers sold or gave away the clothes that now circulate through a unique market that may travel back to Okinawa. History could be mapped not only through people, but also objects. The significance of this story is not in finding the location but in the circulation of these and other items that travel across the world, especially between the US and Okinawa through another economy of recycled and vintage market.

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The Beauty/Barbershop Exhibit (B & B Exhibit)

Forthcoming. 

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Sketches of Teruya Ar(t)chive (2021, 2022)  http://afrosoutheastasia.com/

Functioning as both artwork and archive, Ikehara’s maps are a form of “miXtory,” a term she uses to describe her methodology of weaving together the meta-narratives of history, personal stories, and the gaps or questions that emerge between history and memory. Ikehara describes this interplay in the map as performative, referring to the map as “an object that solicits the viewer into action [by] filling the gap of what is missing on the map, and translating the personal miXtory into material forms, i.e., [turning] object, event, performance into an archive.” Teruya represented three economic zones, which were active for more than twenty-three years after the American occupation from 1952 to 1976: Honmachi Dori, a shopping district; Koza Ichiba, a market district; and the Black District, a bar and entertainment district. The latter district served African-American soldiers in the military. During this time, Teruya's mixed racial, ethnic, cultural, language, and national geography also included people who were Japanese, Chinese, Vietnamese, Italians, Indians, Koreans, Filipinos, and the children of mixed-racial ethnicities. Postwar economic opportunities offered to foreigners in constructing the American military bases and other business ventures drew a diverse range of people to Teruya. Through their will to survive and thrive, they created what Ikehara describes as a postwar economic miracle. They created, in her words, “a community in which everyone had a chance of making, creating and imagining how to live in the company of others while negotiating difference.” Ikehara grew up in Teruya and some of the locations on the map are based on her memories, interviews, and what she calls yuntakuviews (yuntaku translates to “chatting” in Okinawan).

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Istanbul Design Biennial 2021, Designing Resilience (Research Program) Istanbul Foundation for Culture and Arts (İKSV). Research Funding Award.  

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