Weaving traditional folk toys into a new era
We interviewed Japanese Folk Toy Museum Director Kimiko Oga and Assistant Director Nobuhisa Ono about the museum’s history, its appeal, and their hopes for the future.
This article presents an interview conducted during our initial visit in November 2022.
The story behind its opening ～ Kurashiki’s urban development
Could you tell us how the Japanese Folk Toy Museum came to open?
Oga (honorific omitted)
I moved to Kurashiki City in 1961, but it was Kichinosuke Tonomura who sparked my deep interest in folk toys.
Kichinosuke Tonomura
The first director of the Kurashiki Museum of Folkcraft.
In addition to working to promote folkcraft, at a time when the idea of “preserving historic streetscapes” was not widely accepted, he saw the folkcraft spirit of “beauty in utility” in the beauty of the scenery formed by white walls, tiled walls, and rows of traditional tiled roofs. He also contributed to protecting the landscape of today’s Bikan Historical Area.
Ohara Soichiro, who had a deep interest in Kurashiki’s streetscape, invited Tonomura, who would later become the director of the Kurashiki Museum of Folkcraft, to Kurashiki soon after the war.
My father-in-law, Masaaki Oga, was also inspired by Tonomura’s ideas. We asked him whether there was some way we could put the rice storehouse passed down from our ancestors to use.
Tonomura suggested, “Why not turn it into an exhibition hall for folk toys?”
As he showed us items from his own collection, Tonomura spoke about the wonders of folk toys passed down throughout Japan so vividly that we could picture them in our minds.
It was the spring of 1966.
Did you already know much about folk toys?
Oga
Neither my father-in-law nor I knew anything about folk toys in 1966. My father-in-law’s hobbies were Noh, utai chanting, and tea.
I was classmates with the daughter of Yoshimitsu Yoshinaga, a folk toy collector, and had occasionally seen his collection when I visited their home—that was the extent of my connection to folk toys.
During the year before the museum opened, my father-in-law and I visited collectors all over Japan, and afterward, we continued collecting, visiting toy makers introduced to us by Tonomura.
When the museum opened in 1967, we received folk toys selected by Tonomura, making for a high-quality exhibition.
At the time of opening, the exhibition space consisted of just the front storehouse, but it was very well received, and many people came from all over Japan.
Perhaps it was also appealing to be able to enjoy an exhibition at a toy museum, since folk toys were usually collected for personal enjoyment at the time.
Could you tell us about +1GALLERY and the Side Terrace?
Oga
We first created a gallery as part of our efforts to make use of buildings designated as a Preservation District for Groups of Traditional Buildings.
Since I am involved in crafts myself, I had connections with Shinzo Kotani of Kurashiki Glass and Samiro Yunoki, a textile dyer.
We continued to hold special exhibitions featuring Kurashiki Glass, textile dyeing, and Sakazu ware, and that brings us to the present.
Today, we exhibit works by Eiji Kotani and Akihiro Isogai, a professor at Kurashiki University of Science and the Arts.
Through Professor Isogai, we were also able to hold an exhibition of lighting and drinking glasses featuring works by artists who pursued their practice after graduating from Kurashiki University of Science and the Arts.
The space was renovated as the Side Terrace and +1GALLERY in 1999. It was originally a tea room, and we remodeled it into its current form.
Many visitors like its bright, garden-facing design.
I hope people will feel free to come in and enjoy it.
Could you tell us about the Japanese Folk Toy Museum logo? Was the peach design chosen with Momotaro in mind?
Oga
The Japanese Folk Toy Museum logo is based on our family crest. My father-in-law and I chose a peach crest together.
Actually, we didn’t choose the peach crest with the Momotaro legend in mind. Today, Okayama Prefecture is associated with Momotaro, but that wasn’t so much the case when the museum opened.
Rather, since these were children’s toys and dolls, Kintaro was more common.
Okayama was known as the home of white peaches, so perhaps Okayama and peaches were inseparable.
We asked Samiro Yunoki to design our treasured wrapping paper, including the logo. We have continued using it unchanged for 50 years since the museum opened.
Supporting Kurashiki’s historic streetscape
Finally, could you tell us about your hopes for the future?
Oga
More than 50 years have passed since the museum opened, and we have amassed a large number of folk toys, including those in storage.
One issue is that we’re running out of space in the shop, but I also feel we need to rethink how we present the toys. Simply lining them up may not be enough.
I think art exhibitions face the same challenge.
Folk toys have traditionally been made using techniques passed down through generations, but I’ve heard that successors have recently been adopting new methods.
Until now, we’ve tended to reject things that felt a little different from what we considered folk toys, but I realized that wasn’t right.
I’ve come to think this from listening to young people, including our assistant director, talk about it.
Ono (honorific omitted)
I was born and raised in Tokyo, but I had long been drawn to Kurashiki, where my mother is from.
I graduated from an art university, and when I was getting my curator qualification, I had the opportunity to work at the Ohara Museum of Art. There are many people creating new things, including in the world of art and at the Japanese Folk Toy Museum, who are taking on new challenges.
I think it would be good if people who own old things could support those creators. This is also relevant to efforts to preserve historic streetscapes, but I don’t think preserving only the exterior would preserve the Kurashiki spirit.
I think what matters most to preserve is that spiritual aspect.
Oga
That’s absolutely right about preserving the spiritual aspect.
As for the streetscape, unless not only we but also people involved in architecture believe in preserving the Kurashiki spirit, the exteriors may remain while everything else becomes completely different.
Ono
In that sense, I feel that preserving the streetscape also presents challenges.
Looking ahead, I have some connections with artists through the university, so I hope we can do various things while we still can.
However, figuring out exactly how to put the Kurashiki spirit into practice is very difficult.
When I think about bringing in new things, I also feel that the legacy of those who came before us is powerful.
What I really like about the Japanese Folk Toy Museum is that it embraces new things while also preserving the old.
From the Writer
The Japanese Folk Toy Museum has been on its journey for more than 50 years since opening.
Initiatives and ideas that were new at the time are gradually becoming a rich history. From the director and assistant director’s stories, I sensed that they are exploring how folk toys can coexist with new art and values.
Their words made me realize that this is not an easy path, but I would love to see how things come into harmony over time.
Although I am not directly involved in making things, my visit to the Japanese Folk Toy Museum left me wanting to receive the makers’ thoughts through their toys and works, and share them with the people I care about.
The Japanese Folk Toy Museum regularly changes its folk toy displays.
I hope to visit for each new display and special exhibition to experience its appeal, which cannot be fully appreciated in a single visit.
Japanese Folk Toy Museum information
| Name | Japanese Folk Toy Museum |
|---|---|
| Address | 1-4-16 Chuo, Kurashiki City, Okayama Prefecture |
| Contact | 086-422-8058 |
| Parking | None Use a nearby parking lot. ※Parking at Geibunkan or the Central Library is convenient. |
| Opening hours | 10:00 a.m.–5:00 p.m. ※Last admission to the museum is at 4:40 p.m. |
| Closed | Irregular holidays December 30–January 1 Please check the official website for other irregular closing days. |
| Admission (tax included) | Admission is charged for the museum only. Pay at the shop register. Adults: ¥600 (¥500) Middle school to university students: ¥300 (¥200) Elementary school students: ¥100 (¥50) Children under elementary school age: Free ※Prices in parentheses apply to groups of 10 or more and people with a disability certificate. |
| Payment methods |
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| Reservations | Accepted |
| Smoking | Entirely smoke-free |
| Restrooms | No restrooms |
| Child-rearing | Participating Momokko Card store Admission available at group rates |
| Website | Japanese Folk Toy Museum |
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