Reflections on the Special Exhibition "Ichiro Fujiyama is Here! From 'Wakaki-chi' to the People's Honor Award"

2025/01/09

Ichiro Fujiyama has arrived! Upon entering the special exhibition room, a golden accordion shines brightly in the central display case. Beside it is a photograph of Fujiyama standing with a smile, holding the accordion. It brings to mind his bright, clear singing voice. Behind the accordion is a trumpet. There is a photograph capturing Takeo Masunaga (Fujiyama's real name) in his Tokyo Music School uniform, standing in the cheering section of Jingu Stadium and blowing a trumpet. It is said to be the Keio-Waseda game of 1932. Masunaga, then a third-year student in the main course of the music school, had rushed to support the team. I wonder if the song he was playing was "Wakaki-chi."

The special exhibition at the Fukuzawa Yukichi Memorial Keio History Museum on the Mita Campus (October 17 – December 14, 2024) is composed of four sections: "1. The Birth of 'Ichiro Fujiyama'," "2. Journeying Through the Era of War," "3. Believing in the Power of Music," and "4. Together with Keio University." On a monitor, a 33-minute edited video of Fujiyama's singing performances plays throughout the day. The exhibition room—where one can see, read, listen, and feel the atmosphere of the era, capturing all five and even a sixth sense—had an ambiance where it wouldn't have been surprising if Fujiyama himself appeared to guide visitors through the display.

Family photos from Fujiyama's childhood, essays from his days at the Yochisha Elementary School, his Keio Futsubu School transcripts from when he applied to the Tokyo Music School, sheet music he used for practice for music school concerts, concert photographs, handwritten scores for compositions and arrangements such as the "Radio Calisthenics Song," numerous records, a tapestry of the Ichiro Fujiyama Orchestra, a pennant gifted by the Keio University Cheerleading Team, his favorite jacket, and the People's Honor Award commemorative shield were all gathered in one place. Items such as the compositions for "Dancing Sun" and "Under the Sanshokuki," an album from the "Keio Rally" on the eve of a Keio-Waseda game, and a photo of him with Taro Okamoto reveal the strength of the bond between Fujiyama and Keio University.

Among these, the "Journeying Through the Era of War" corner had a particularly strong presence. From February 1943, Fujiyama participated as a civilian employee in the Navy's Southern Region Entertainment Troupe, returning in July. In November, he was again commissioned by the Navy with the rank of major to encourage soldiers on southern islands and was involved in pacification efforts for local residents. He also performed at various internment camps during nearly a year of detention. Fujiyama's footsteps as he traveled through various regions with his music are summarized on three panels titled "Footsteps of the Southern Region Entertainment Tour." Through these, photographs of Fujiyama's entertainment performances and him teaching music at local schools can be seen within their historical context. This may be the first time Fujiyama's movements in the South have been visualized to such an extent.

There is also a solo recital program from Sugamo Prison after his return, and a letter of appreciation written in ink by ten people, including former Army Minister Sadao Araki, titled "Gratitude: Passionate Entertainment Performance." After a fateful meeting with Dr. Takashi Nagai, who was exposed to the atomic bomb in Nagasaki, Fujiyama sang "The Bells of Nagasaki" at the 1st NHK Kohaku Uta Gassen. A letter and a rosary gifted by the doctor are also on display. It becomes clear that Fujiyama's musical life cannot be discussed without his wartime experiences. In the permanent exhibition room, the August 5, 1946 issue of "Kayou Shunju" is displayed. Its cover features "the happy and nostalgic face of our 'Pin-chan,' Ichiro Fujiyama, who suddenly returned from the South" (from the editorial postscript on page 36 of the same magazine). Fujiyama's "Words upon Return" were also published. The copy of this magazine held by the National Diet Library is preserved as part of the Prange Collection, complete with GHQ censorship notes.

Many of the exhibited materials are owned by the Ichiro Fujiyama Music and Culture Promotion Foundation. This special exhibition was made possible through the cooperation of Fujiyama's daughter, Ms. Taiko Ichikawa (Keio University alumni), and his grandson, Mr. Takahiro Ichikawa (Keio University alumni). Additionally, materials donated to the NHK Museum of Broadcasting, such as his trumpet and Fujiyama's handwritten score for "Is Sake Tears or Sighs?", were also on display.

The purpose of the project was to highlight that Fujiyama was involved throughout his life in the music that colors Keio University, and that after mastering professional singing, he threw himself into the non-classical world to contribute to the development of musical culture. It aimed to attempt a "re-evaluation of Ichiro Fujiyama, who left a multifaceted trail with a sincere and resilient rebellious spirit." This is the starting point from which we have moved one step closer to that re-evaluation.

In reality, what and how much did the special exhibition convey? While this exhibition covered the important scenes of Fujiyama's life, what was conveyed about the music itself, which is the core of a musician? Visible materials such as scores for compositions and arrangements, record jackets, and memorabilia are effective in conveying his activities, but there are limits to conveying invisible music.

So, what does it mean to convey Ichiro Fujiyama? I noticed something while listening to "The Bells of Nagasaki" repeatedly at the venue. The verses are "spoken" in a minor key, and the refrain is "sung" in a major key. For example, the second verse—"Called away, my wife went to heaven / Leaving me to start a lonely journey / My white tears on the chain / Of the rosary left as a memento"—is spoken in a minor key, while the refrain—"Comforting and encouraging, the bells of Nagasaki / Ah, the bells of Nagasaki ring"—shares the same lyrics through the third verse.

While the spoken verses convey the facts and pain of the atomic bombing in an explanatory way, the refrain is a prayer for peace offered to the heavenly kingdom, liberated from pain and suffering. How does Fujiyama sing the refrain? A vocalists might want to show off a sonorous, beautiful voice from "Comforting and encouraging" onward, but Fujiyama suppresses that, offering a requiem without breaking his firm expression. Of course, I am not saying that Ichiro Fujiyama's singing is the one and only best. Each singer has their own voice, interpretation, and expression, but perhaps it is precisely now, when we can no longer meet either Fujiyama or Dr. Nagai, that we need to listen repeatedly to the singing of Fujiyama, who met the doctor directly, and savor its true intent.

I was given the opportunity to participate because of materials from Fujiyama's time at the Tokyo Music School. As a result, I realized painfully that I knew very little about Fujiyama. At the invitation of Associate Professor Takeyuki Tokura of the Fukuzawa Memorial Center, I cheered at a Keio-Waseda game. Standing in the place where Fujiyama likely blew his trumpet and sang "Wakaki-chi" with all his might, I found that the Keio third-base side and the Waseda first-base side were surprisingly close. I could imagine how Masunaga's voice might have intimidated the enemy camp from there.

Fujiyama said, "The ones who create music are, in the end, the audience" ("Utai Tsuzukete," Association for the Promotion of Music Appreciation Education, 1985, p. 113). He meant that music is ultimately completed within the listener. If so, an exhibition is also ultimately completed within the viewer. Ichiro Fujiyama still lives on within people today. However, it cannot necessarily be said that the true image of Fujiyama is well-known. The special exhibition suggested the meaning of Fujiyama continuing to live in the 21st century and the challenges for that purpose. It would be possible to delve deeper into each corner of the special exhibition. I hope for a permanent place or regular opportunities to become familiar with his singing. We must have Ichiro Fujiyama continue to be active in the 21st century as well.