Introduction

“Are you the son of a cameraman who photographed me forty-four years ago?” To this question I answered, “Yes.” Then the inquirer, who turned out to be Itoi Kanji (aka Dadakan), suddenly began sobbing. “Thanks to one photograph that your father shot of me, I am here today. It’s been forty-four years since then. It’s a long time ago.” With these words, he began to recount to me episodes about my father in detail.

　　　　I was born in July 1970 as the eldest son of Hanaga Mitsutoshi.
That year, he was extremely busy. In March, Expo ’70 opened in Osaka. Around the same time, the Japan Red Army hijacked the Yodo plane. In June, there was the anti-Anpo struggle that attempted to stop the automatic extension of the Japan-U.S. Security Treaty (Anpo). Nationwide, cities suffered photochemical smog, a byproduct of Japan’s high economic growth. In November, novelist Mishima Yukio killed himself by harakiri. Indeed, 1970 was a year full of newsworthy events.
As events emblematic of the lights and shadows of Japan at the time erupted, my father rushed around the whole country to capture the shadows with his camera. Reading his diary, I came to learn that when I was born, he was not at home, working on deadline for the environmental photo-report “Japan Is Polluted,” for the magazine Chūō kōron. In it, he also touched upon the meaning of my name, Tarō. “Naming him 太朗, I wanted him to have a big (太) stout spirit and a cheerful (朗) character. That’s all. I even thought of not giving him any name at all and not registering him in the family registry. I was such a nihilistic person at the time.” This is how I learned about my possible fate as a nameless man.

　　　　What kind of photographer was my father Hanaga Mitsutoshi? What messages did he want to tell through more than 100,000 photographs he left behind? As I grew older, I became more interested in my father’s work.
In his late years, he would often say that the importance of the photographs he had shot should be recognized decades after his death. After he suffered a brain infarction, he began to organize his photographs little by little with his semi-paralyzed body. His work progressed slowly, with only a small faction sorted out. In December 1999, right before the dawn of the 21st century, he passed away at the age of 66.
Fifteen years after his death, I was fortunate enough to have occasions to bring attention to his photographs and I myself began organizing his photo archives. (Please see Rear, no. 32, 2014, page 100, for details). Through these opportunities, I came to meet with numerous artists.
Seeing their photographs shot more than fifty years ago, these avant-garde artists passionately and energetically shared with me their accounts and memories. In doing so, they also told me about their relationships with my father. I have thus learned about the photographer Hanaga Mitsutoshi I did not know.

　　　　Born in 1933, my father was part of the so-called “war-experienced generations.” In the early 1950s, when Japan recovered from the wreakage of WWII, he succumbed to tuberculosis, with one lung removed. Subsequently, he fell on a mountain and underwent surgery to remove a patella from his right knee, which crippled his right leg. In his early twenties, he thus became physically handicapped.
During a recession following the Korean War, the kinds of work the handicapped could find were limited: repairing shoes, repairing watches, lining men’s suits—which were all menial works in the “shadows.” Since he could not get a good position through public job placement offices, he chose to be a freelance photographer, taking advantage of his eyes and hands as good as those of the non-handicapped.
His disadvantages led to his anti-authority spirit, prompting him to persistently direct his camera to the shadows of society. He became particularly interested in the “underground” world that society tended to view with prejudice—which encompassed the student movement, the environmental problems, avant-garde art, underground theater, and Butoh. He was sympathetic to legitimate expressions that were condemned as “anti-establishment.” His sympathy was directed not so much toward the individual works per se as to the artists’ ideas and thoughts that underscored their works. I often wonder whether he raised questions to society through his photography. Indeed, he frequently called himself not a cameraman but a journalist.

　　　　In viewing the voluminous trove of his photographs left to us, we can feel the atmosphere of each site in which he worked, not by focusing on one frame at a time, but by seeing a series of them like a documentary film. He photographed not only complete works but also creative processes, not only the stage presentation of dance and theater but also the practices and behind the stage, not only the nation’s economic growth but also its environmental ills. Accordingly, if we try to look at both sides—yin and yang—of what he shot, we can delve into the depth of his photography, just as a single photographic image can be seen through its negative and its positive.

* * *

Our digitizing and research project has not been completed. But we aspire to concurrently present the photographer Hanaga Mitsutoshi’s work to the world, in Japan and abroad, so that it can be seen by as many people as possible. If we transmit through his photography the expression of Japan’s underground culture more than half a century old to people living today, and if people can discover something from it, my father’s photography will continue to live. I hope there will be many encounters and discoveries through our research and exhibitions.
I would like to thank the members of the Hanaga Mitsutoshi Project Committee and many other people who have tirelessly worked to make this photobook possible.

September 17, 2016
Hanaga Tarō

はじめに

「あなたが４４年前の私を撮ってくれたカメラマンの息子さんですか？」という質問に「そうです」と答えると、糸井貫二（通称「ダダカン」）さんは、突然、嗚咽しながら泣き出した。「あなたのお父さんが撮ってくれた1枚の写真のお陰で、今の私がいます。あれからもう４４年、そんなに時間が経ちましたか」と言って、当時のことを丁寧に思い出しながら話を始めた。

私は、１９７０年７月に羽永光利の長男として生まれた。
この年、父は多忙を極めていた。１９７０年という年は、3月に大阪で「日本万国博覧会」が開幕し、同時期に赤軍派による「よど号ハイジャック事件」も起きた。6月には日米安保条約の自動延長による安保闘争（７０年安保）が起き、高度成長を迎えた都市では光化学スモッグが初めて社会問題になった。そして11月には三島由紀夫が割腹自殺をした激動の年であった。
時代の陰と陽が象徴される出来事が起きると、父は“陰”の出来事にカメラを向けて全国を飛び回った。私が生まれたときも出産には立ち会えず、公害問題をテーマにした写真ルポ「日本は汚れている」（中央公論）の〆切に追われていたと、残された日記で発見した。そのなかで私の命名についても触れており、「太朗とは、太いしたたかな精神と、明るい性格の持ち主になるように願った。他意はない。本来、無届無名にしようとさえ思っていたくらい、当時の私はそれだけニヒリズムに傾斜していた」と記されていた。危うく名無し子になりかけたことを、あとから知った。

一体、父・羽永光利という人物は、どういうカメラマンだったのか？
何を伝えたいと思い、約１０万点にも及ぶ写真を残したのか？
私自身が歳を重ねるごとに、父への興味が徐々に膨らんでいった。

晩年、父は自分が撮ってきた写真は、自分が死んで数十年経つと必ず重要になると、よく話していた。脳梗塞で倒れ、不自由になった体を起こしては、少しずつ写真の整理を始めていたが、なかなか進まず、結局一部の整理に留まり、１９９９年１２月、２１世紀突入目前に６６年の生涯に幕を下ろした。
父が他界して１５年、再び父の写真が注目されるきっかけを頂き、写真の整理が始まった（詳細は芸術批評誌『リア』No.32、2014年、p.100参照）。それにより多くの作家たちに出会う機会が増えた。
５０年以上前に撮影された写真について、前衛作家たちはまるで学生時代のアルバムを見ているかのように熱く、エネルギッシュに当時の様子を話してくれた。それは同時に作家と父との関係を聞くことにもなり、自分が知らなかった“カメラマン・羽永光利”を知るきっかけにもなった。

１９３３年生まれの父は、所謂「戦争体験者」の一人であった。戦後焼け野原だった日本が復興から発展を迎えた１９５０年代前半、肺結核を患い片肺となり、その後、山で滑落した際の怪我が原因で右膝の皿を除去し、片足が不自由となった。その結果、２０代前半で障害者として人生を歩むことになる。
朝鮮戦争直後の不況時、身体障害者に与えられた仕事は、靴の修理、時計の修理、背広の裏打ちと、世の中のスポットが当たらない“陰の仕事”が多かったらしい。職安で紹介されるいい仕事がなかったから、健常者と同じ目と手をフルに生かせる仕事に就こうということでフリー・カメラマンを選んだと、幼年期に聞いていた。
そのハンディが反骨精神を生み出し、社会の“陰”となる部分にレンズを向けて写真を撮り続けた。学生運動、公害問題、前衛美術、演劇、舞踏など、社会からあまり注目されずに、ある種の“偏見”で見られてしまう「アングラ」という世界に父は強い関心を抱いた。正しいことをしているのに“反体制的”と捉えられてしまう表現に対して、作品よりも作家の考えや思想に共感し、写真を通してそれを広く社会に問題提起していたのかもしれない。父は、自分自身をカメラマンでなくジャーナリストであるとよく言っていた。

こうして残された膨大な父の写真は、１コマを切り取って観るのでなく、前後の流れを一連のドキュメンタリーとして観ることで、その現場の様子が伝わってくる。完成した作品だけでなく創作過程、舞台公演だけでなく稽古場のシーン、高度成長と公害問題という、相反する陰と陽の両面を見ることで、その写真の深みが出てくる。まるで、写真のネガとポジの関係と同じように。

写真の調査・分析はまだ終わっていないが、同時進行で“カメラマン・羽永光利”の写真作品を、国内外問わず多くの方に観て頂く機会を今後増やしていきたい。半世紀以上前の日本アングラ文化を現在の人たちに写真を通じて発信し、何かの気づきのきっかけになれば、父の写真が今に生きることになるだろう。これからどんな発見と出会いがあるか楽しみである。

今回、羽永光利プロジェクト実行委員会のメンバーをはじめ、多くのご協力者の力によって、この写真集の発刊が実現しました。この場をお借りして、心から感謝の意を表したい。

２０１６年９月１７日
羽永太朗

April 12, 1961
Yuri Gagarin makes the first human journey into outer space.
　　　August 13
East Germany builds the Berlin Wall.

February 21, 1962
Tokyo becomes the first city to see its de jure population reach ten millions.
　　　October 22
The U.S. initiates a Cuban blockade, which leads to the Cuban Missile Crisis.

January 1, 1963
The first domestic animation series, Tetsuwan Atomu (Astro Boy in English), is broadcast on Fuji Television.
　　　Novenber 1
A new anti-counterfeit 1,000-yen note is introduced.
　　　Novenber 9
An explosion happens at the Mitsui Miike Coal Mine, resulting in 458 deaths and 839 injured.
　　　Novenber 22
President John Kennedy (46) is assassinated in Dallas.

April 1, 1964
International travel by Japanese nationals is liberalized.
　　　April 28
Japan joins OECD.
　　　April 28
Heibon Punch, a popular weekly, is inaugurated by Heibon Publishers.
　　　May 28
PLO is established.
　　　October 1
Japan National Railways begins the operation of the Shinkansen high speed trains between Tokyo and Osaka.
　　　October 3
Nippon Budōkan is opened in Tokyo.
　　　October 10
The Tokyo Olympics begins (through October 24).
　　　October 16
China conducts its first nuclear test.

1961.04.12
ユーリイ・ガガーリン、世界初の有人宇宙飛行に成功
　　　08.13
東ドイツが「ベルリンの壁」を建設

1962.02.21
東京都の常住人口が1000万人を突破、世界初の1000万都市に
　　　10.22
米国がキューバを海上封鎖（キューバ危機）

1963.01.01
国産初の連続テレビアニメ「鉄腕アトム」（フジテレビ）放送開始
　　　11.01
偽造防止のため新千円札発行
　　　11.09
三井三池炭鉱で炭塵爆発事故（458人死亡）
　　　11.22
ケネディ米大統領が暗殺される（享年46歳）

1964.04.01
日本人の海外渡航自由化
　　　04.28
日本、経済開発協力機構（OECD）に加盟
　　　04.28
週刊『平凡パンチ』（平凡出版）創刊
　　　05.28
パレスチナ解放機構 (PLO) 設立
　　　10.01
東海道新幹線開業（東京ー新大阪間）
　　　10.03
日本武道館開館
　　　10.10
東京オリンピック開催（〜24日）
　　　10.16
中国が初の核実験を実施

January 20, 1965
Japan Airlines inaugurates Jalpak, a brand line of domestic and overseas tour packages.
　　　February 7
The U.S. begins bombing North Vietnam.
　　　April 24
Beheiren, short for “Betonamu ni heiwa o!” Simin Rengo (Citizens’ Federation for Peace in Vietnam) is founded.
　　　Jun 22
Japan-Korea Treaty is signed.
　　　September 30
A coup attempt fails in Indonesia.
　　　November 26
11 PM, a late-night program is inaugurated on Nippon TV.

1965.01.20
日本航空、パッケージツアー「ジャルパック」を発売
　　　02.07
米軍、北ベトナムを爆撃（北爆開始）
　　　04.24
「ベトナムに平和を！市民文化団体連合」結成
　　　06.22
日韓基本条約調印
　　　09.30
インドネシアでクーデター未遂
　　　11.26
深夜番組「11PM」（日本テレビ）放送開始