I apologize for digressing, but there is a classic rakugo story called “Sokotsunagaya,” which features a reckless and careless character. Some of you may be wondering why I am suddenly talking about a rakugo story at an exhibition that includes Muslims. Please bear with me for a moment, as I am planning to tie it in later on. First, let me briefly explain the content of “Sokotsunagaya.”

Hachigoro mistakes a dead body lying near the Asakusa Kannon temple for his follower Kumagoro and hurries to retrieve it. He tells “Kumagoro,” “You’re lying there dead near the Asakusa Kannon temple, so hurry up and come get your remains.” Kumagoro responds, “I don’t feel dead.” But Hachigoro convinces him by saying, “Someone else might come and take it away.” So, Kumagoro goes to the scene as the “deceased.” When he sees the corpse, he thinks it looks slightly longer than his own face, but he accepts that it must be him and holds it in tears. At that moment, he suddenly realizes, “The one being held is certainly me, but I wonder who is the one holding?” and says it out loud.

As you may have guessed, this punchline, “The one being held is certainly me, but I wonder who is the one holding?” is related to the theme of this exhibition, “The one being taken a picture of is certainly me, but I wonder who is the one taking the picture?” However, please bear with me a little longer before condemning me for the connection.

Rakugo master, Tatekawa Danshi (1935-2011), once referred to “Sokotsunagaya” as “Shukan(subjective)-nagaya.” What does that mean? Danshi says that Hachigoro and Kumagoro are not just careless characters, but individuals who have an intense fixation on their own beliefs. They are willing to risk their lives to persuade their listeners. After a while, Danshi began to perform this story on stage with the title “Shukan(subjective)-nagaya” instead of “Sokotsunagaya.”

Now, let me talk about “Young Muslim’s Eyes.” The Young Muslims who are participating in this project refer to Japanese-born and raised second-generation Muslims or Japanese young people who converted to Islam along the way. Additionally, the main member, cultural anthropologist Kae Amo, investigated Islamic mysticism among young people in Senegal, and another member, Yo Nonaka, who conducts regional studies in Indonesia, has researched Muslim fashion. Thus, many of those involved in this project are well-versed in Islam.

However, I wonder how much you, who are viewing this exhibition, know about Islam. Among the visitors of this contemporary art exhibition, there are surely a certain number of people who have no connection with Islam. To tell the truth, even I, who am writing this text, had hardly any opportunities to come into contact with Islam in my daily life in Japan until I became involved with “Young Muslim’s Eyes”.

To reiterate, the Young Muslims participating in the exhibition are Muslims who were born and raised in Japan. Recently, there was news in Japan that “there aren’t enough burial sites for Muslims.” In Islam, cremation is prohibited and burial is mandatory, but there is a shortage of burial sites. I saw heartless comments on Twitter such as “bury them on the mainland,” but for these Young Muslims, the “mainland” is Japan.

Thus, the diverse ways of life that are difficult to fathom for the conventional wisdom and ethics of Japan of a generation ago are the defining features of these Young Muslims. Therefore, this exhibition must not only speak to Muslims but also to people like me, who live in Japan and have had little contact with Islam. This was foremost in my mind as I planned this exhibition. But how to do it?