Toyoko Tokiwa: Difference between revisions
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[[Image:Toyoko Tokiwa Dangerous Poisonous Flowers.jpg|thumb|250px|Front cover of the first and only edition (1957) of ''Kiken na dokubana.'' (The red part near the bottom is the ''[[Obi (publishing)|obi]],'' partly covering the black and white [[dust jacket]].) Tokiwa is holding a [[Canon (company)|Canon]] [[rangefinder camera]] with [[Nikkor|Nikkor-P 8.5cm f/2 lens]], superimposed on which is a detail of a photograph that appears on p.226 of the book.]] |
[[Image:Toyoko Tokiwa Dangerous Poisonous Flowers.jpg|thumb|250px|Front cover of the first and only edition (1957) of ''Kiken na dokubana.'' (The red part near the bottom is the ''[[Obi (publishing)|obi]],'' partly covering the black and white [[dust jacket]].) Tokiwa is holding a [[Canon (company)|Canon]] [[rangefinder camera]] with [[Nikkor|Nikkor-P 8.5cm f/2 lens]], superimposed on which is a detail of a photograph that appears on p.226 of the book.]] |
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{{nihongo|'''Toyoko Tokiwa'''|常盤 とよ子|Tokiwa Toyoko|1930}} is a [[Japan]]ese [[photographer]] known for her 1957 book of text and photographs ''Kiken na |
{{nihongo|'''Toyoko Tokiwa'''|常盤 とよ子|Tokiwa Toyoko|1930}} is a [[Japan]]ese [[photographer]] known for her 1957 book of text and photographs ''Kiken na Dokubana'' ({{nihongo2|危険な毒花}}), and particularly for its portrayal of Japanese prostitution with US servicemen.<ref name="moriyama">Tomoe Moriyama ({{nihongo2|森山朋絵}}), "Tokiwa Toyoko", ''Nihon Shashinka Jiten'' ({{nihongo2|日本写真家事典}}) / ''328 Outstanding Japanese Photographers'' (Kyoto: Tankōsha, 2000; ISBN 4-473-01750-8), p.221. {{ja icon}} Despite the English-language alternative title, in English only.</ref> |
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==Life and career== |
==Life and career== |
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===''Kiken na dokubana''=== |
===''Kiken na dokubana''=== |
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In 1956 Tokiwa held an exhibition titled ''Hataraku |
In 1956 Tokiwa held an exhibition titled ''Hataraku Josei'' ({{nihongo2|働く女性}}, Working women) at the [[Konishiroku Photo Gallery]] (Tokyo) that won high acclaim. The exhibition showed [[Professional wrestling|pro wrestlers]], [[Model (art)|models]], ''[[Ama (diving)|ama]],'' nurses and prostitutes.<ref name="moriyama" /> |
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In 1957 her book ''Kiken na |
In 1957, her book ''Kiken na Dokubana''<ref>The reading of the last two characters of the title is problematic. The book itself does not specify the reading. Large Japanese dictionaries such as ''[[Kōjien]]'' do not include any word with the imaginable readings ''dokubana, dokuhana, dokuka,'' or ''dokka.'' Accounts in Japanese, such as Moriyama's piece in ''Nihon Shashinka Jiten'' or ''Nihon Shashinshi Gaisetsu'' ({{nihongo2|日本写真史概説}}; Tokyo: Iwanami, 1999; ISBN 4-00-008381-3) do not give the reading. Both [[Kōtarō Iizawa]] and Luisa Orto specify it as ''adabana,'' glossing the title as a whole as "Dangerous Fruitless Flowers". Iizawa, "The evolution of postwar photography", in Anne Wilkes Tucker et al., ''The History of Japanese Photography'' (New Haven, CT: Yale University Press, 2003; ISBN 0-300-09925-8), p.217; Orto, "Toyoko Tokiwa", in Orto and Matsuda Takako, "Artist Profiles", in Tucker et al., p.364. ''Adabana'' indeed does mean "fruitless flower", but it is normally written {{nihongo2|徒花}} and {{nihongo2|徒}} does not imply toxicity; while toxicity ''is'' the unambiguous meaning of the character {{nihongo2|毒}}.</ref> ({{nihongo2|危険な毒花}}, literally "Dangerous Poisonous Flowers"<ref>In Japanese, the single word ''dokubana'' expresses "poisonous flower(s)", so the title is much less cumbersome than its English translation.</ref>) was published by Mikasa Shobō ({{nihongo2|三笠書房}}). The text of the book is divided into three parts: |
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*''Kiken na |
*''Kiken na Dokubana'' (as explained above) |
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*''Fāsutofurekkusu kara Kyanon made'' (i.e. "From Firstflex to Canon"; the Firstflex was a brand of [[twin-lens reflex camera]] made by Tokiwa Seiki, {{nihongo2|常盤精機}}) |
*''Fāsutofurekkusu kara Kyanon made'' (i.e. "From Firstflex to Canon"; the Firstflex was a brand of [[twin-lens reflex camera]] made by Tokiwa Seiki, {{nihongo2|常盤精機}}) |
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*''Kōfuku e no |
*''Kōfuku e no Iriguchi no Aru Ie'' (i.e. "A House with an Entrance to Happiness") |
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Each of these is further subdivided into short essays. The text is in the first person and often about Tokiwa herself: the (composite) cover photograph and the photograph in the frontispiece both show Tokiwa holding a [[Canon (company)|Canon]] [[rangefinder camera]], in a period when photography was very much a male pursuit in Japan.<ref>"Until the 1980s there were few successful female photographers [in Japan]." [[Anne Wilkes Tucker]], "Introduction", Tucker et al., p.12. Tucker then mentions and alludes to several who preceded Tokiwa (although she omits [[Tsuneko Sasamoto]]).</ref> |
Each of these is further subdivided into short essays. The text is in the first person and often about Tokiwa herself: the (composite) cover photograph and the photograph in the frontispiece both show Tokiwa holding a [[Canon (company)|Canon]] [[rangefinder camera]], in a period when photography was very much a male pursuit in Japan.<ref>"Until the 1980s there were few successful female photographers [in Japan]." [[Anne Wilkes Tucker]], "Introduction", Tucker et al., p.12. Tucker then mentions and alludes to several who preceded Tokiwa (although she omits [[Tsuneko Sasamoto]]).</ref> |
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===Exhibitions=== |
===Exhibitions=== |
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In the same year, 1957, Tokiwa exhibited with [[Shōmei Tōmatsu|Tōmatsu]], [[Ikkō Narahara|Narahara]] and others in the first exhibition of ''Jūnin no |
In the same year, 1957, Tokiwa exhibited with [[Shōmei Tōmatsu|Tōmatsu]], [[Ikkō Narahara|Narahara]] and others in the first exhibition of ''Jūnin no Me'' ({{nihongo2|10人の目}}, The Eyes of Ten). Until 1960, Tokiwa presented her work in several exhibitions, at least once together with [[Hisae Imai]].<ref name="moriyama" /><ref name="naniomita">''Shashinka wa Nani o Mita ka: 1945–1960'' ({{nihongo2|写真家はなにを見たか}}1945～1960, What Did Photographers See: 1945–1960; Tokyo: Konica Plaza, 1991), <!-- no ISBN --> pp. 122–123.</ref> |
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===Television work=== |
===Television work=== |
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From 1962 to 1965 Tokiwa produced the television series ''Hataraku |
From 1962 to 1965 Tokiwa produced the television series ''Hataraku Josei-tachi'' ({{nihongo2|働く女性たち}}, Working Women).<ref name="moriyama" /> |
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===Other photography and publications=== |
===Other photography and publications=== |
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==Permanent collections== |
==Permanent collections== |
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*[[Tokyo Metropolitan Museum of Photography]].<ref>As implied by her inclusion, without a qualifying note, within the book ''Nihon |
*[[Tokyo Metropolitan Museum of Photography]].<ref>As implied by her inclusion, without a qualifying note, within the book ''Nihon Shashinka Jiten'' / ''328 Outstanding Japanese Photographers.''</ref> |
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*[[Yamaguchi Prefectural Museum of Art]].<ref>Iizawa, "The evolution of postwar photography", in Tucker et al., pp. 236–37.</ref> |
*[[Yamaguchi Prefectural Museum of Art]].<ref>Iizawa, "The evolution of postwar photography", in Tucker et al., pp. 236–37.</ref> |
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==Books by Tokiwa== |
==Books by Tokiwa== |
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*''Kiken na |
*''Kiken na Dokubana'' ({{nihongo2|危険な毒花}}). Tokyo: Mikasa Shobō, 1957. {{ja icon}} |
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*With Taikō Okamura ({{nihongo2|奥村泰宏}}). ''Yokohama saigen: Futari de utsushita haisen sutōrī'' ({{nihongo2|二人で写した敗戦ストーリー戦後50年}}). Tokyo: Heibonsha, 1996. ISBN 4582277330. {{ja icon}} |
*With Taikō Okamura ({{nihongo2|奥村泰宏}}). ''Yokohama saigen: Futari de utsushita haisen sutōrī'' ({{nihongo2|二人で写した敗戦ストーリー戦後50年}}). Tokyo: Heibonsha, 1996. ISBN 4582277330. {{ja icon}} |
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*''Watashi no |
*''Watashi no Naka no Yokohama Densetsu: Tokiwa Toyoko Shashinsū 1954–1956'' ({{nihongo2|わたしの中のヨコハマ伝説 常盤とよ子写真集 1954-1956}}). Yokohama: Tokiwa Toyoko Shashin Jimusho, 2001. {{ja icon}} |
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==Notes== |
==Notes== |
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{{reflist}} |
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<references /> |
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{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. --> |
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. --> |
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Revision as of 17:11, 7 January 2011
Toyoko Tokiwa (常盤 とよ子, Tokiwa Toyoko, 1930) is a Japanese photographer known for her 1957 book of text and photographs Kiken na Dokubana (危険な毒花), and particularly for its portrayal of Japanese prostitution with US servicemen.[1]
Life and career
Tokiwa was born Yōko Katana (刀 洋子, Katana Yōko) in Yokohama on 15 January 1930. She graduated from Tokyo Kasei-Gakuin (the predecessor of Tokyo Kasei-Gakuin Junior College) in 1951.[1] Tokiwa started work as an announcer but dreamt of being a photographer instead, joining a women-only photography group; she was influenced by the realism of Japanese photography at the time (led by Ken Domon).[1]
Kiken na dokubana
In 1956 Tokiwa held an exhibition titled Hataraku Josei (働く女性, Working women) at the Konishiroku Photo Gallery (Tokyo) that won high acclaim. The exhibition showed pro wrestlers, models, ama, nurses and prostitutes.[1]
In 1957, her book Kiken na Dokubana[2] (危険な毒花, literally "Dangerous Poisonous Flowers"[3]) was published by Mikasa Shobō (三笠書房). The text of the book is divided into three parts:
- Kiken na Dokubana (as explained above)
- Fāsutofurekkusu kara Kyanon made (i.e. "From Firstflex to Canon"; the Firstflex was a brand of twin-lens reflex camera made by Tokiwa Seiki, 常盤精機)
- Kōfuku e no Iriguchi no Aru Ie (i.e. "A House with an Entrance to Happiness")
Each of these is further subdivided into short essays. The text is in the first person and often about Tokiwa herself: the (composite) cover photograph and the photograph in the frontispiece both show Tokiwa holding a Canon rangefinder camera, in a period when photography was very much a male pursuit in Japan.[4]
The text of the book is interrupted by four sections of photographs, taken between 1952 and 1957 (captions and technical data appear on pp. 242–241[5]). There is a title on the first photograph of each; these are:
- Aru machi no kurai onna no iru fūkei (i.e. "The dark scenery with women of a certain Japanese town"). Mostly street scenes within this town (which must have been close to a US military base,[6]) many showing girls and US servicemen. Tokiwa's most famous photograph,[7] showing a girl held down by a foreign male while another in uniform looks away, appears on pp. 44–45.
- Kiken na hakimono (i.e. "Dangerous footwear"). The opening photograph shows geta and sandals discarded at the entrance to a hospital; the photographs that follow show girls waiting for or having injections and mandatory checks of freedom from venereal diseases.
- Fāsutofurekkusu kara Kyanon made (as explained above). A complex series: foreign visitors to Japan, ama, nude modelling, and chindon'ya.
- Kōfuku e no iriguchi no aru ie (as explained above). Happier scenes of young women — although the series ends with the scene shown within the lens on the cover.
Kōtarō Iizawa calls the book "the strongest, most compassionate work by female photographer of that era."[8]
Exhibitions
In the same year, 1957, Tokiwa exhibited with Tōmatsu, Narahara and others in the first exhibition of Jūnin no Me (10人の目, The Eyes of Ten). Until 1960, Tokiwa presented her work in several exhibitions, at least once together with Hisae Imai.[1][9]
Television work
From 1962 to 1965 Tokiwa produced the television series Hataraku Josei-tachi (働く女性たち, Working Women).[1]
Other photography and publications
Tokiwa photographed the Soviet Union, Taiwan and Malaysia.[1]
There has not yet been a second book devoted to other work of Tokiwa, but from the 1950s until the 1970s her work appeared in the magazines Asahi Camera, Camera Mainichi, Nippon Camera, Sankei Camera, and Shashin Salon.[1]
Other work
In 1967 Tokiwa joined a committee choosing work for exhibition by Kanagawa Prefecture, and in 1987 she taught at Fujisawa Bunka Sentā (Fujisawa, Kanagawa).[9]
Later exhibitions
The 3rd Month of Photography Tokyo showcased a variety of photo exhibitions at various galleries in Tokyo in 1998. The main theme was "The Eye of Women Photographers" (Josei Shashinka no Manazashi) and it exhibited photos by established Japanese women photographers (including Tokiwa) representing the 1945-1997 period.[10]
Permanent collections
Books by Tokiwa
- Kiken na Dokubana (危険な毒花). Tokyo: Mikasa Shobō, 1957. Template:Ja icon
- With Taikō Okamura (奥村泰宏). Yokohama saigen: Futari de utsushita haisen sutōrī (二人で写した敗戦ストーリー戦後50年). Tokyo: Heibonsha, 1996. ISBN 4582277330. Template:Ja icon
- Watashi no Naka no Yokohama Densetsu: Tokiwa Toyoko Shashinsū 1954–1956 (わたしの中のヨコハマ伝説 常盤とよ子写真集 1954-1956). Yokohama: Tokiwa Toyoko Shashin Jimusho, 2001. Template:Ja icon
Notes
- ^ a b c d e f g h Tomoe Moriyama (森山朋絵), "Tokiwa Toyoko", Nihon Shashinka Jiten (日本写真家事典) / 328 Outstanding Japanese Photographers (Kyoto: Tankōsha, 2000; ISBN 4-473-01750-8), p.221. Template:Ja icon Despite the English-language alternative title, in English only.
- ^ The reading of the last two characters of the title is problematic. The book itself does not specify the reading. Large Japanese dictionaries such as Kōjien do not include any word with the imaginable readings dokubana, dokuhana, dokuka, or dokka. Accounts in Japanese, such as Moriyama's piece in Nihon Shashinka Jiten or Nihon Shashinshi Gaisetsu (日本写真史概説; Tokyo: Iwanami, 1999; ISBN 4-00-008381-3) do not give the reading. Both Kōtarō Iizawa and Luisa Orto specify it as adabana, glossing the title as a whole as "Dangerous Fruitless Flowers". Iizawa, "The evolution of postwar photography", in Anne Wilkes Tucker et al., The History of Japanese Photography (New Haven, CT: Yale University Press, 2003; ISBN 0-300-09925-8), p.217; Orto, "Toyoko Tokiwa", in Orto and Matsuda Takako, "Artist Profiles", in Tucker et al., p.364. Adabana indeed does mean "fruitless flower", but it is normally written 徒花 and 徒 does not imply toxicity; while toxicity is the unambiguous meaning of the character 毒.
- ^ In Japanese, the single word dokubana expresses "poisonous flower(s)", so the title is much less cumbersome than its English translation.
- ^ "Until the 1980s there were few successful female photographers [in Japan]." Anne Wilkes Tucker, "Introduction", Tucker et al., p.12. Tucker then mentions and alludes to several who preceded Tokiwa (although she omits Tsuneko Sasamoto).
- ^ Not a mistake; as this is a two-page island of horizontal writing within a book whose text is otherwise vertical, it is paginated backwards.
- ^ Kōtarō Iizawa identifies it as Yokohama. Iizawa, "The evolution of postwar photography", in Tucker et al., p.217.
- ^ This is reprinted in for example Iizawa, "The evolution of postwar photography", in Tucker et al., p.236.
- ^ Iizawa, "The evolution of postwar photography", in Tucker et al., p.217.
- ^ a b Shashinka wa Nani o Mita ka: 1945–1960 (写真家はなにを見たか1945～1960, What Did Photographers See: 1945–1960; Tokyo: Konica Plaza, 1991), pp. 122–123.
- ^ Philbert Ono, "PhotoHistory 1998", Photoguide.jp. Accessed 2009-03-09.
- ^ As implied by her inclusion, without a qualifying note, within the book Nihon Shashinka Jiten / 328 Outstanding Japanese Photographers.
- ^ Iizawa, "The evolution of postwar photography", in Tucker et al., pp. 236–37.