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Among many museums throughout Japan that address the subject of disaster, the attention was drawn to the Chuetsu Earthquake Memorial Corridor which is composed of four facilities and three parks. One facility in Nagaoka acts as gateway to the Corridor, another in Ojiya is responsible for disaster prevention education, the one in Kawaguchi aims to r...
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... that were born between people (between neighbors, between residents and outsiders, etc.) as a result of the disaster. It not only focuses on past connections that were made at the time of the earthquake, but also relationships that are progres- sively continuing to develop. The Yamakoshi Restoration Exchange Center- Orataru (My/Our Place) (Fig. 5 ) plays the part of recounting the path of the history, culture, and reconstruction of the village. While talking about life in the village, voices of the local people recount the path they took to return to Yamakoshi and to revive their hometown, even after being subjected to the extensive destruction of the ...
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Citations
... Olgubilim, belirli bir olguyu derinlemesine anlamak için birkaç birey tarafından deneyimlenen bir olgu üzerinde yapılan araştırma deseni olarak tanımlanmaktadır (Creswell, 2020). Olgubilim, tam olarak farkında olunan ve aynı zamanda tam anlamıyla da farkında olunmadığı olguların incelenmesi için ideal bir araştırma ortamı sunmaktadır (Gürbüz & Şahin, 2018;Yıldırım & Şimşek, 2018). Çalışmada bu desenin tercih edilme nedeni, afet müzelerinin eğitimdeki rolünü derinlemesine anlamak için akademisyenlerin deneyimlerini ve bakış açılarını incelemektir. ...
... Araştırmanın veri toplama aracı, araştırmacılar tarafından oluşturulan yarı yapılandırılmış görüşme formudur. Olgubilim araştırmalarında, araştırmacılar inceledikleri bireylerle yüz yüze gerçekleştirilen uzun süreli görüşmelerle olgular hakkında bilgi edinmeye odaklanmaktadır (Gürbüz & Şahin, 2018). Araştırmanın amacına yönelik olarak alanyazın taraması yapılmış ve bu doğrultuda hazırlanan ve dört sorudan oluşan yarı yapılandırılmış görüşme formu uzman görüşleri doğrultusunda düzenlenmiş ve görüşmeye uygun hale getirilmiştir. ...
Afetler, doğal ve beşeri kaynaklı olabilen ve öngörülmesi mümkün olmayan olaylardır. Bu nedenle afetleri en az zararla
atlatmak için afetlere karşı hazırlıklı olmak gerekmektedir. Eğitim kurumlarında çeşitli kaynaklar aracılığıyla, öğrencilerin
afetler hakkında bilinçlenmeleri ve toplumsal farkındalık kazanmaları sağlanmaktadır. Afet eğitimi için önemli
kaynaklardan biri olan afet müzeleri; afetlerin doğası, hazırlık süreçleri, afet anı ve afet sonrası arama kurtarma çalışmaları
hakkında kapsamlı bilgi ve eğitim sunarlar. Afet eğitiminin önemli bir parçası olan afet müzelerinin afet eğitimi veren
akademisyenlerin bakış açısıyla değerlendirilmesi, bu araştırmanın konusunu oluşturmaktadır. Araştırma olgubilim
deseni ile yürütülmüştür. Ölçüt örnekleme ile belirlenen 17 akademisyen araştırmanın çalışma grubunu oluşturmaktadır.
Araştırmanın sonuçlarına göre, afet müzelerinin afete hazırlık süreçlerinde etkili olduğu ve afet eğitiminin önemli bir
parçası olduğu belirlenmiştir. Bu müzeler, bireylerin afetlere karşı bilgi ve bilinç düzeylerini artırarak, olası afetlere karşı
daha hazırlıklı olmalarını sağlamaktadır. Ayrıca, afet müzelerinin toplumun her kesimindeki bireyler için erişilebilir olması
önemlidir
... Some literature deals with 3.11 museums in connection to dark tourism (Gerster, Boret, and Shibayama 2021), or in relation to geo-tourism (Mignon and Pijet-Migoń 2019). Yet surprisingly, there is still little scholarship that focuses directly on Japanese natural hazard disaster museums (Hayashi 2016;Littlejohn 2020;Maly and Yamazaki 2021;Ono et al. 2021). However, analysis of their exhibitions is vital for understanding cultural memory in Japan, as they demonstrate continuity of narratives of overcoming hardships -while omitting questions of responsibility -introduced by war or peace museums and pre-3.11 ...
... Its network of facilities in multiple towns includes four facilities (Nagaoka Earthquake Disaster Archive Center Kiokumirai in Nagaoka City; Ojiya Earthquake Disaster Museum Sonaekan in Ojiya Village; the Bonds/Ties Kizuna Center community space in Kawaguchi Village, and Yamakoshi Restoration Exchange Center Orataru in Yamakoshi Village) and three parks ("Park for Prayer" in Myoken, "Park for Remembering" in Kogomo, and "Park for Beginnings" at the earthquake epicenter) in different communities. The unique decentralized design of the Chuetsu Memorial Corridor and close connections to local communities allow visitors to experience the connection of local culture as well as disaster information (Hayashi 2016). ...
With the proliferation of several dozen new exhibits and museums dedicated to this specific disaster, the 3.11 Great East Japan Earthquake, tsunami, and nuclear disaster, can be considered a turning point in the preservation of disaster memory in Japan. Although there is limited research on disaster museums, they play a significant role in shaping cultural memory of 3.11, as they are regarded as reliable, objective institutions of memory. Through analysis of 17 government-established 3.11 museums, this research explores the following questions: How do public disaster museums frame their representations of 3.11, and what official narrative is created within the cultural memory of the triple disaster in Japan? Drawing from analysis of the museums’ mission statements and exhibitions, and interviews with curators and museum staff, we argue that most disaster museums support narratives of overcoming hardships to contribute to a better future, showing continuity with narratives typical of other memorial museums such as WWII, or pre-3.11 disaster museums. In contrast to the commemoration of war and its influence on cultural memory, disaster museums have received relatively little scholarly attention. Yet, these forward-looking messages, combined with tendencies of museums to focus on local disaster experiences and emphasize disaster risk reduction with an artificial separation between man-made disasters vs. natural hazards, contributes to an othering of the Fukushima nuclear disaster in cultural memory, as an outlier in Japan’s long history of disasters. Without full representation of the compound disaster, understanding of 3.11 and the effective transmission of the intended lessons is severely limited.
... This result could be a suggestion for policymakers, researchers, academics, and related stakeholders to consider involving psychological aspects in DRR activities. It is either paying attention to children's state of psychology in post-disasters or integrating their "traumatic" experience as a motivation to reduce the effects of future disasters (Tanaka, 2005;Hayashi, 2016;Muzenda-Mudavanhu et al., 2016). Although further research and discussion are necessary regarding this issue. ...
The frequent increase of natural disasters enforces the need for disaster risk reduction implementation in education. This empirical study aims to determine the effectiveness of the module in the context of the Palu disaster threat in understanding the process of the earthquake, tsunami, liquefaction, and mitigation. This research was conducted in schools that were directly affected by the disaster. For those affected by the liquefaction, the research was carried out at SMP 21 Petobo. Then for those who were affected by the tsunami, the research was conducted at SMP 10 Kampung Lere, Palu. The results show that the students of disaster-affected schools already had initial knowledge regarding Disaster Risk Reduction before the module was implemented. Social media, mass media, and disaster locations contributed to the formation of their initial understanding. This study result indicates that the normal gain value for each disaster subject in disaster-affected schools increases. However, the normal gain for each topic affected by liquefaction is higher. The average increase in the normal gain of implementing modules in the school affected by liquefaction was 21.76 percent, and in the school affected by the tsunami was 10.49 percent. The study concludes that understanding the local context disaster module is effective in disaster-affected schools and is more effective in schools that are heavily affected (liquefaction).
... Hayashi (2016).Case Studies • 61 ...
This Guide aims to help empower museums (small, large and of any kind, anywhere), museum workers, museum networks and their partners to draw on Disaster Risk Reduction approaches. This should help them reduce the impact of disasters, whether COVID-19, climate change, or any other kind of disaster, for the benefit of themselves, their communities, and the natural environment.
So, the Guide has two main goals:
To help museums build their resilience, and reduce the impact of disasters on museums themselves.
To help museums contribute to resilience-building in the wider world, for the benefit
of society and the natural environment.
Many museums already consider disaster risk in terms of protecting their own buildings and collections. This Guide takes a broader perspective, that museums can play a key role in supporting people, communities, the whole of society and nature, to prevent or mitigate disasters in the wider world. Making a difference in the world is, arguably, the best way for museums to be resilient as organizations.
... Importantly, the work of many of these scholars was in museums that are born from and memorialize human-caused tragedy in terrorism, racial oppression, and war. Museums are also built in response to natural disasters (Hayashi 2016), yet only a few scholars have made a study of disaster museums, particularly in how they reflect place. Hayashi's (2016) work focused on public involvement in development and management of the Chuetsu Earthquake Memorial Corridor museums, but implicitly showed how direct connection between visitors and locals at the site and the topics presented in museum spaces work together to represent identity and sense of place for affected populations. ...
... Museums are also built in response to natural disasters (Hayashi 2016), yet only a few scholars have made a study of disaster museums, particularly in how they reflect place. Hayashi's (2016) work focused on public involvement in development and management of the Chuetsu Earthquake Memorial Corridor museums, but implicitly showed how direct connection between visitors and locals at the site and the topics presented in museum spaces work together to represent identity and sense of place for affected populations. Similarly, Margottini and Di Buduo (2017) profile The Geological and Landslides Museum of Civita di Bagnoregio, Italy, with a focus on its earth science education mission, whilst still providing a glimpse into the character of a place whose personality is defined by its geological history. ...
... The other name museum operators gave Zone 2 is the "Disaster Recovery Archive." Memory preservation is an important part of recovery from any tragedy or disaster (Hayashi 2016;Scannell et al. 2016). By giving this archive such presence in the museum (this zone occupies around 1/3 of the museum's space) curators underscore their intent to preserve the tsunami's impacts on everyday lives. ...
On March 11, 2011, Japan experienced the most powerful earthquake ever recorded in that country. A coastal port and fishing city in Miyagi Prefecture, Kesennuma was one of the hardest hit population centers, the waves having destroyed much of the city’s commercial core and nearly all of its low coastal neighborhoods. The wave’s destruction highlighted certain elements of the city’s sense of place and forever changed others. I explore how the Kesennuma Shark Museum reflects ways in which the 3/11 disaster has simultaneously maintained and altered Kesennuma as a place. I analyze the spatiality of the museum and how its narrative evokes a sense of place in the broader community. The case of the Shark Museum is one example of how scholars can use museums to examine sense of place and how it has been impacted by natural disasters. This work represents a unique contribution to cultural geography inquiry into the spatiality of museums, museum experiences, and how such spaces reflect an interaction between people and place.
Japan has an established tradition of museums commemorating its long history of disasters, which memorialize lives lost and convey the scientific mechanisms of natural hazards, disaster history, and people’s experiences during and after disasters. The first part of this paper provides an overview of seven modern disaster museums in Japan established before 3.11, starting from the museum of the 1923 Great Kanto Earthquake. These seven museums commemorate disasters of different types, time, and scales of damages. Considering their shared commonalities and individual characteristics, it describes the components and approaches of exhibits that these museums use to convey experiences and stories of disasters, passing on local knowledge toward future disaster risk reduction. The second part of the paper provides an overview of new museums and exhibit facilities established to commemorate the 3.11 Great East Japan Earthquake, tsunami, and nuclear disaster of March 11, 2011. The scale of the devastation of 3.11, as well as an explosion of interest and support for activities of memorialization, documentation, and exhibition, has resulted in a variety and decentralization of new museums and exhibit spaces throughout the area affected by the 3.11 disaster. Spanning various combinations and types of exhibit facilities, this paper concludes by considering emergent trends compared to pre-3.11 disaster museums and potential future developments.
