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In late 2022, our Japanese collective sent works to Novi Sad, Serbia, to participate in “Metroplex 2022.2122”. There, we contributed AR (augmented reality) works that merged physical and digital realms, presented in a virtual culture center. Seeing audiences interact with our work in such an innovative space, where traditional exhibits transformed into layered digital experiences, was thrilling. These early exchanges set the stage for this year’s ambitious and emotionally resonant project. Last year, during Metroplex 2023.2122, our collective significantly strengthened the artistic bond between Japan and Serbia. I vividly recall the energy of that project, which began with Serbian artists Dejan Ilić and Marko Jozić visiting Japan for research under the EU-Japan Fest. It was during this visit that our exchange truly deepened.

The project began with a public rehearsal on August 2, 2024, at Nagoya’s Cotton Building. The intimate setting heightened the tension as poetry, sound, and visuals intertwined in a seamless dialogue. Murata’s poetry was recited, while Oki’s soundscapes and Ilić’s digital visuals created a layered, immersive experience. The rehearsal served as a test of our artistic synthesis and a powerful introduction to what was to come.

Our efforts culminated on August 6, 2024, at Hiroshima’s former Bank of Japan building, which stood before us like a time machine, silently observing the events unfolding within its walls over the years. Despite the lively performances and the bustling atmosphere created by the many artworks exhibited over three days, the space quietly embraced us, providing a grounding presence.

The performance began with Junko Suzuki lying on the floor, a gesture of vulnerability that set the tone. Gradually, Keisuke Oki’s soundscapes and Jin Murata’s poetry intertwined, creating a layered and immersive experience. Dejan Ilić’s visuals responded to these movements and sounds, projecting onto two large screens flanking the stage. His work incorporated Takuji Okagawa’s footage of Hibaku (A-Bomb exposed) trees and my slow-motion video of Japanese hands, adding further depth to the visual narrative. Tatjana Mateša, director and actress from Novi Sad helped with the development of the concept idea.

As the witness to the history, I, Ko Yamada, moved ritualistically through the space with a film camera, capturing the performers, the poets, and the overall atmosphere. From the stage to the audience, I walked purposefully, taking photographs as a visual testimony. The sound of the shutter was picked up by a microphone, creating an auditory layer reinforcing the act of witnessing for the audience.

Junko Suzuki offered “nonviolent hugs” to each audience, conveying compassion and quiet resistance, symbolically wrapping her arms around and disarming any hostile intentions. Meanwhile, Dejan’sMetaHuman, a digital avatar, mirrored the poet’s mouth movements, reciting Murata’s words and bridging the organic with the virtual. Murata’s poetry was inscribed on a long scroll, which he repeatedly unfurled and read aloud, his voice echoing through the space. Both Suzuki, Murata, and I were barefoot, exposing our vulnerabilities while expressing our roles in the performance. Keisuke Oki infused his soundscapes with a strong sense of resistance and anti-war sentiment. He masterfully wove together the elements of poetry, action, and visuals, sometimes connecting them seamlessly and engaging in an improvised dialogue with the other aspects. The ensemble unfolded for 30 minutes, with peaks and pauses punctuating the performance. Each participant responded intuitively to the other, creating a dynamic and organic rhythm that gradually led to a resonant conclusion.

The performance concluded with a profound connection between the artists, the audience, and the space itself. One particularly memorable moment was the reunion with Mr. Hiromitsu Shimamoto, who was invited previously and worked with Japanese youth choirs for an art event in Novi Sad. It was also a part of EU-Japan Fest Japan Committee’s support. His presence on stage, embracing the Serbian audiences, symbolized our communities’ deep and enduring ties.

After the performance, we are invited to the Lantern Floating Ceremony. The serene flow of lanterns, each carrying prayers for peace, created a deeply meditative atmosphere. Watching our Serbian colleagues, visibly moved by this quiet yet profound ceremony, reminded me of the universal language of peace and the power of shared experiences.

The project continued in unexpected ways. Two weeks later, Oki and Ilić performed together again in Tokyo’s Koenji district, showcasing their sound improvisations in a small live venue. As an audience member, I felt a sense of closure, witnessing the final chapter of this year’s project unfold in an intimate yet powerful setting.

This project would not have been possible without the unwavering support of EU-Japan Fest Japan Committee. Their dedication to fostering cultural exchange has provided us a platform to create meaningful art transcending borders. I am deeply grateful for their contributions, which have enriched this project and strengthened the grassroots connections between Japan and Serbia.

Looking ahead, I believe the bonds we have forged through these collaborations will continue to grow, inspiring future generations to engage in dialogue, reflection, and artistic exchange. Projects like Metroplex 2024.2122 remind us of the transformative power of art to build bridges, foster understanding, and, ultimately, bring us closer to a shared vision of peace.