Since the turn of the century, there has been a notable increase in the popularity of depictions and exhibitions featuring Japanese prehistoric figurines, better known as dogū. These artefacts from...Show moreSince the turn of the century, there has been a notable increase in the popularity of depictions and exhibitions featuring Japanese prehistoric figurines, better known as dogū. These artefacts from the Jōmon Period (about 15.600 to 3200 years BP) with a supposed ritual purpose increasingly show up in and outside of archaeology. In this paper I look for a possible explanation for this recently heightened interest. This is done by asking two questions: 1. Where are dogū present, and 2. how can this be explained? Going from Japan’s identity and the nature of their connection with the past, in this paper I look for the ulterior motives and goals behind the presence of dogū where they are most often seen: museums, art, popular culture/media. The first part, an analysis of dogū in Japan, shows that Japan’s view of its Jōmon past has changed since World War II. Out of nationalism a link is created with a past in which Japan was supposedly still unique and pure. Dogū reflect this and have thus come to represent Jōmon heritage. Good characteristics and aspects are selectively emphasized. In this way a generalizing story is created, that unfortunately negatively impacts the diversity that existed in the past. On the other hand, the mysticism and mysterious nature of dogū are a source of inspiration for artists and popular media such as anime, manga and videogames. The second half investigates the presence of dogū in the West, which can be largely attributed to several researchers who publicize across country borders and have brought dogū to Western museums. A case study of the ‘Power of Dogū’ and ‘Unearthed’ exhibitions offers insight into the goals behind this kind of exhibition. The Jōmon period and its dogū are used to represent the cultural traditions of Japan. In the debate on world heritage too dogū are used to promote the Jōmon period, as evidenced by my case study of a debate on Jōmon heritage in Paris.Show less
