MY CREATIVE WRITING IN THIS NEW BOOK

MY CREATIVE WRITING IN THIS NEW BOOK

Great company I keep in BIGOTRY ON BROADWAY, an anthology edited by Ishmael Reed and Carla Blank, Baraka Books, September 2021.

From the publishers on the book cover:

“How do intellectuals and scholars feel about how members of their ethnic groups are portrayed on Broadway? How would we know? Very few of them have the power to rate which plays and musicals are worthy and which are flops, and above all, be heard or read. The American critical fraternity is an exclusive club.”

A review in Library Journal Sept. 1, 2021:

“Blank and Reed offer an incisive, critical take on Broadway’s past and present; discuss an alternative vision that incorporates the perspectives missing from Broadway; and look toward a more inclusive future. A book for all readers interested in the history of Broadway musicals, theater criticism, and the role of whiteness in Broadway’s misrepresentations.”

NEWS FROM FUKUSHIMA: Meditation on an Under-Reported Catastrophe by a Poet _ now a film

Fukushima is the worst nuclear disaster since Chernobyl. It will take decades and billions of dollars to keep the multiple meltdowns under control. Spewed radiation has reached as far as the American West Coast. Some 100,000 people were displaced from the no-go zone. But now, years later, the 3.11 story hardly makes headlines.
Journalist Yuri Kageyama turns to poetry, dance, theater, music and film, to remind us that the human stories must not be forgotten. Carla Blank, who has directed plays in Xiangtan and Ramallah, as well as collaborated with Suzushi Hanayagi and Robert Wilson, brings together a multicultural cast of artists to create provocative theater. Performing as collaborators are actors/dancers Takemi Kitamura, Monisha Shiva, Shigeko Sara Suga and musicians Stomu Takeishi, Isaku Kageyama, Kouzan Kikuchi and Joe Small. Lighting design by Blu. Video projected on the stage is by Yoshiaki Tago, who has turned the performance into an award-winning film.
NEWS FROM FUKUSHIMA is a literary prayer for Japan.
It explores the friendship between women, juxtaposing the intimately personal with the catastrophic.
The piece debuted at La MaMa in New York in 2015, with music led by Melvin Gibbs. An updated version was presented at Z Space in San Francisco in July 2017. The film was completed in October 2018.

“A powerful reflection on the corruption and greed of men and their indifference to human life.” _ ISHMAEL REED

OUR “NEWS FROM FUKUSHIMA” honored at festivals around the world:

FINALIST Official Selection Swedish International Film Festival Oct. 30 ~ 31, 2021.

Official Selection International Migration & Environmental Film Festival Oct. 9 ~ 16, 2021 streaming online on Xerb TV.

Official Selection Los Angeles Asian Film Festival 2021.

Official Selection Jade Jaguar Cinema Festival in Brazil Aug. 22-31, 2021.

Official Selection Universe Multicultural Film Festival Aug. 27-29, 2021 (postponed; new dates to be announced).

AWARD OF EXCELLENCE WRITER/SCRIPT DOCU-DRAMA FEATURE Official Selection WRPN Women’s International Film Festival Spring 2021.

FINALIST Official Selection New Year Film Festival February 2021.

FINALIST Official Selection Athens International Monthly Art Film Festival February 2021.

HONORABLE MENTION Official Selection London International Monthly Film Festival February 2021. 

BEST ECOLOGY DOCUMENTARY Official Selection Best Film Awards January 2021.

Official Selection FINALIST Beyond the Curve International Film Festival January 2021.

SEMI-FINALIST Official Selection Jelly Film Festival January 2021.  

Official Selection Vancouver Independent Film Festival January 2021.

Official Selection Toronto International Women Film Festival January 2021.

BEST DOCUMENTARY Official Selection Rome International Movie Awards January 2021.

FINALIST Official Selection Flixze Film Festival Jan. 5 ~ 6, 2021.

Official Selection Kalakari Film Festival May 15, 2021.

GRAND FESTIVAL AWARD – CINE DANCE POEM and WORLD PREMIERE at the Berkeley Video & Film Festival SAT Nov. 2, 2019, 6 p.m. East Bay Media Center Performance Space

BEST DOCUMENTARY FEATURE WINNER Royal Wolf Film Awards December 2020. 

NOMINATED BEST DOCUMENTARY BIMIFF – Brazil International Monthly Independent Film Festival November 2020.

BEST DOCUMENTARY FEATURE Madras Independent Film Festival October 2020 Edition.

BEST EXPERIMENTAL DOCUMENTARY Sicily Independent Film Awards August 2020. 

FINALIST Official Selection Montreal Independent Film Festival September 2020.

Official Selection Motion Pictures International Film Festival November 2020. 

Official Selection Silent River Film Festival in California August 2020.

Official Selection Tokyo Lift-Off Film Festival June 2020.

SELECT SHOWCASE Official Selection at the Guam International Film Festival (2019~2020), airing on PBS Guam June 2020.

Official Selection ARTS X SDGS film festival New York April 2020.

Official Selection 2020 Oniros Film Awards in Italy.

FINALIST BEST ASIAN FEATURE FILM at the New Vision International Film Festival in Amsterdam September 2019.   

Screened online at the Japan Writers Conference Oct. 16, 2021. 

Screened online at the Toronto Film Channel Aug. 31, 2020.

Screened online at the Brazil International Monthly Independent Film Festival Dec. 9, 2020 through Dec. 15, 2020.

NEWS FROM FUKUSHIMA Meditation on an Under-Reported Catastrophe by a Poet
Written by Yuri Kageyama | Directed by Carla Blank

Film directed by Yoshiaki Tago with camera work by Tago and Kate McKinley. Editing by Eri Muraki.

 “Yuri, you did a great job. Stay hard and blunt and don’t mince words. Yours was a powerful reflection on the corruption and greed of men and their indifference to human life.” _ Ishmael Reed.

Photo by  Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dofrman

Photo by Annette Borromeo Dofrman

For the San Francisco performance, we had genuine Bon Daiko drum music performed by Isaku Kageyama with shakuhachi and fue by Kouzan Kikuchi, joined by Joe Small (taiko/percussion) and Stomu Takeishi (bass), delivering mesmerizing renditions of Bon and minyo from Fukushima, as well as other Japanese tunes. The Bon idea of the dead’s homecoming and the abstracted repetitive dancing in a circle serve as a symbol of the piece’s message of death, yearning for family and future generations, and gratitude for the harvest and peaceful everyday life. Juxtaposed with the experimental choreography by the director Carla Blank, incorporating collaborations with the performers, Takemi Kitamura, Monisha Shiva and Shigeko Sara Suga, Bon dance was transformed on the American stage, and presented as a dignified and artistic motif of modern movement. Bon Odori continues to bring people together in the Japanese American community _ and communities all over Japan.

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Tennessee Reed

Photo by Tennessee Reed

From the director
This performance is a collaboration among all its participants, some who have worked together since 2015, and some who in 2017 helped create this new development of the piece. Through email conversations and intensive rehearsals we arrived at our choices of the particular dramatic scenes, music, video, dances and other action you will see. The Bon Odori dances and music, which provide transitions between the scenes, are based on traditional celebrations that occur throughout Japan during the late summer to honor the ancestors: Soma Bon Uta and Aizu Bandaisan from Fukushima, Yagi Bushi from Tochigi and Gunma near Tokyo, and Tanko Bushi from Fukuoka, besides Tokyo Ondo, which continues throughout Bon Odori (The Death Dance). Great thanks to Takemi Kitamura, who taught us the four dances you will see and who also created the movement for the Prologue solo and Epilogue trio, inspired by a line dance from Aizu, the westernmost region of Fukushima, where annually it is offered in remembrance of 19 of the over 300 Byakkotai warriors , teen-age sons of samurai in the White Tiger Battalion who in 1868, during the Boshin Civil War, committed ritual disembowelment (seppuku or hara-kiri) because they mistakenly believed a fire had consumed their lord’s castle, which would mean their city had been captured and their families killed. For me, this dance particularly resonates because of where it comes from, how contemporary its formal choices appear, and how as the strokes of the blades go every which direction, it becomes a metaphor for the ways life can slice us also. It has been my great pleasure to realize Yuri Kageyama’s work with all these wonderful, dedicated performers.

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

Ishmael Reed came up with the title for my performance piece: “NEWS FROM FUKUSHIMA: Meditation on an Under-Reported Catastrophe by a Poet.” As that suggests, the piece is about my vision as a poet. My spoken word pieces, delivered to accompaniment of various kinds of music, address racism, stereotyping, sexism and the search for love. They seek to address what society sees as “bigger” issues, such as the Fukushima accident, the nuclear bombing of Hiroshima and the journalistic mission. For me, they are all connected.

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

Photo by Tennessee Reed

All those themes provide the driving force in my storytelling that has over the years always sought to bring closer to home the perennial repetition of people’s betrayal, selfishness and smallness.
The Fukushima disaster is the biggest story of my life _ both as poet and journalist, those sides of my writing identity which have in the past remained so painfully separate. They have now come together. We have all come together in this effort _ all of us, of different backgrounds, cultures and disciplines. We have become one. It is clear we have each done our best to share our talent, our passion and our lives, to raise questions, to connect _ and to bring hope.

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

What people are saying about NEWS FROM FUKUSHIMA: MEDITATION ON AN UNDER-REPORTED CATASTROPHE BY A POET.

Yuri Kageyama, with her epic poem, has earned a place among the leading world poets. This work proves that the poet as a journalist can expose conditions that are ignored by the media. _ Ishmael Reed poet, essayist, playwright, publisher, lyricist, author of MUMBO JUMBO, THE LAST DAYS OF LOUISIANA RED and THE COMPLETE MUHAMMAD ALI, MacArthur Fellowship, professor at the University of California Berkeley, San Francisco Jazz Poet Laureate (2012-2016).

NEWS FROM FUKUSHIMA is a commentary on what it means to be human in the 21st Century. While we are divided by race, ethnicity, language, geography and culture, the essence of our humanity remains constant. In NEWS FROM FUKUSHIMA, the cast, director and playwright all come together to create a montage of courage, uncertainty and hope in the face of disaster. _ Basir Mchawi producer, community organizer and radio show host at WBAI Radio in New York, who has taught at the City University of New York, public schools and independent Black schools.

Awesome music and dancing! The haunting drumming, dazzling satire and the golden heart of a poet in protest. Nothing is under control when the environment is under siege. Aluta! _ Sandile Ngidi poet, Zulu/English translator, journalist and critic.

Her collage-like piece weaves together lyrical monologues, sword dance, film and live music that blends jazz, taiko drumming and minyo folks songs. In the Fukushima of 2017, goes one line late in the play, “the authorities say they are playing it safe, when no one really feels safe.” _ Lily Janiak writer for The San Francisco Chronicle.

A vital story of our times. Spoken word and music from a talented multicultural ensemble. A beacon of light in a darkening world. _ Paul Armstrong artistic director at International Arts Initiatives, a Vancouver-based nonprofit for cultural advancement through the arts and education.

I welcomed NEWS FROM FUKUSHIMA _ into my consciousness, with deep gratitude, seeing it twice, two days in succession _ all the while marveling at the tough yet faithful production and its dedication to truth-telling. _ David Henderson poet, co-founder of Umbra and the Black Arts Movement, author of ‘SCUSE ME WHILE I KISS THE SKY. JIMI HENDRIX: VOODOO CHILD.

NEWS FROM FUKUSHIMA echoes the mourning of Bon Odori dance to warn us again and again that the nuclear age of post-World War II Japan has never ended. _ Hisami Kuroiwa movie producer and executive for “The Shell Collector,” “”Lafcadio Hearn: His Journey to Ithaca,” “Sunday,” “Bent” and the Silver Bear-winning “Smoke.”

Strong threads of a woman’s point of view …. Excellent ….The issue of motherhood in looking at Fukushima is well done. And the candid shots of Obon in Japan are fantastic in the background. As are the shots of rows and rows of radioactive materials in plastic bags, just left in rows upon rows in Fukushima. I thought the production was very good, technically excellent, and very illustrative of a Japan we don’t hear about after the 2011 triple disaster. Go see it. _ Peter Kenichi Yamamoto poet in San Francisco and coordinator at the National Japanese American Historical Society.

NEWS FROM FUKUSHIMA is a memorable performance with well-researched narratives that throws you into a quest for humanity. _ Midori Nishimura Stanford University professor and medical doctor.

A powerful message not to forget: Fukushima. _ David Ushijima San Francisco business professional in retail, mobile, sensor-based and connected devices, Internet of Things.

It’s the kind of piece that keeps this from being forgotten. With all the other things going on in this world, we can forget about this, and we have a distance from them. But this kind of piece can remind us to return to it and continually reconsider the choices we make in our society. _ Adam Hartzell writer at koreanfilm.org

Great music …. It left such an impression. A splendid performance. _ Seiko Takada musician, “Kaizoku” vocalist/guitarist.

NEWS FROM FUKUSHIMA is a powerful artistic response to disaster, informing us and inspiring us to compassion. _ Ravi Chandra San Francisco-Bay Area poet, writer and psychiatrist.

A truly emotional experience. _ Liliana Perez child psychologist and Ph.D.

Fukushima: Excellent musical accompaniment to poignant poetry, with minimal yet imaginative staging and choreography. _ Nana pianist and New Yorker.

What a delight …. See this show and be transported magically. _ George Ferencz co-founder of the Impossible Ragtime Theater, resident director at La MaMa (1982-2008), who has also directed at the Actors’ Theater of Louisville, Berkeley Rep and Cleveland Playhouse.

News that enraptures and engages through Sound. A Poet sings of the unreported calamity at Fukushima. _ Katsumi a Japanese living in New York.

The arc of history in every nation has its sadly forgotten men, women and children. Hauntingly powerful, NEWS FROM FUKUSHIMA draws our eyes and hearts back to an ongoing, under-reported tragedy. _ Curtis Chin Milken Institute fellow and former U.S. Ambassador.

Everyone who took part in this performance, and those who came to see it, although of different races and thinking, all felt clearly the existence of what we know is so important …. I have lived to see many people who hurt others out of selfishness, betrayed others without qualms, and then went on to hide what they had done. But in the end, what is desired is not achieved, leaving only hunger, and, because of that, the cycle gets repeated …. I pray more people will be able to feel love through seeing this performance. _ Toshinori “Toshichael Jackson” Tani dancer, member of TL Brothers and instructor.

“News From Fukushima” gave me shivers for an hour. _ Michael Frazier, poet and educator.  

Bios of the artists in
NEWS FROM FUKUSHIMA Meditation on an Under-Reported Catastrophe by a Poet

Cast, crew, filmmakers, director and writer of NEWS FROM FUKUSHIMA

Cast, crew, filmmakers, director and writer of NEWS FROM FUKUSHIMA

Photo by Annette Borromeo Dofrman

Photo by Annette Borromeo Dofrman

THE PLAYWRIGHT
YURI KAGEYAMA
is a poet, songwriter, filmmaker, journalist and author of “The New and Selected Yuri” and “The Very Special Day.” Her spoken-word band the Yuricane features Melvin Gibbs, Eric Kamau Gravatt, Morgan Fisher, Pheeroan akLaff and Winchester Nii Tete. She is published in ”Breaking Silence,” “On a Bed of Rice,” “Pow Wow,” Cultural Weekly, Y’Bird, Konch and Public Poetry Series. http://yurikageyama.com/

 

Carla Blank

Carla Blank

THE DIRECTOR
CARLA BLANK
is a writer, editor, director, dramaturge and a teacher and performer of dance and theater for more than 50 years. She worked with Robert Wilson to create “KOOL _Dancing in My Mind,” inspired by Japanese choreographer Suzushi Hanayagi. She directed Wajahat Ali’s “The Domestic Crusaders” from a restaurant reading in Newark, California, to Off Broadway and the Kennedy Center. http://www.carlablank.com/bio.htm

THE ACTORS

Photo by Tennessee Reed

Photo by Tennessee Reed

TAKEMI KITAMURA, choreographer, dancer, puppeteer, Japanese sword fighter and actor, appeared in “The Oldest Boy” at Lincoln Center, “The Indian Queen” directed by Peter Sellars; “Shank’s Mare” by Tom Lee and Koryu Nishikawa V; “Demolishing Everything with Amazing Speed” by Dan Hurlin and “Memory Rings” by Phantom Limb Co. She has worked with Nami Yamamoto, Sondra Loring and Sally Silvers. http://takemikitamura.com/

Photo by Annette Borromeo Dorfman

Photo by Annette Borromeo Dorfman

MONISHA SHIVA is an actor, dancer, choreographer and painter, appearing in “The Domestic Crusaders” and “The Rats,” for theater, and independent films such as “Small Delights,” “Carroll Park,” “Echoes” and “Ukkiya Jeevan.” A native New Yorker, she has studied classical Indian dance and Bollywood, jazz and samba dancing, and acting at William Esper Studios and Studio 5. http://www.monishashiva.com/Monisha/home.html

Shigeko Suga Sara. Photo by Annette Borromeo Dorfman

Shigeko Suga Sara. Photo by Annette Borromeo Dorfman

SHIGEKO SARA SUGA, actress, director, artistic associate at La MaMa Experimental Theatre Club, and Flamenco and Butoh dancer, has performed in 150 productions, including Pan Asian Rep.’s “Shogun Macbeth” and “No No Boy.” She dedicates her performance to her nephew Ryoei Suga, who volunteered in Kesennuma after the 2011 tsunami and now devotes his life there as a fisherman and monk. www.shigekosuga.com

THE MUSICIANS
STOMU TAKEISHI is a master of the fretless electric bass and has played and recorded in a variety of jazz settings with artists such as Henry Threadgill, Brandon Ross, Myra Melford, Don Cherry, Randy Brecker, Satoko Fujii, Dave Liebman, Cuong Vu, Paul Motian and Pat Metheny. He tours worldwide and performs at various international jazz festivals.

Kouzan Kikuchi (L) and Stomu Takeishi. Photo by Annette Borromeo Dofrman

Kouzan Kikuchi (L) and Stomu Takeishi. Photo by Annette Borromeo Dorfman

KOUZAN KIKUCHI, shakuhachi player from Fukushima, studied minyo shamisen with his mother. A graduate of the Tokyo University of the Arts, he studied with National Treasure Houzan Yamamoto. He has worked with Ebizo Ichikawa, Shinobu Terajima and Motoko Ishii. In 2011, he became Tozanryu Shakuhachi Foundation “shihan” with highest honors.

Joe Small (L) and Isaku Kageyama. Photo by Annette Borromeo Dorfman

Joe Small (L) and Isaku Kageyama. Photo by Annette Borromeo Dorfman

ISAKU KAGEYAMA is a taiko drummer and percussionist, working with Asano Taiko UnitOne in Los Angeles, film-scoring extravaganza “The Masterpiece Experience” and Tokyo ensemble Amanojaku. A magna cum laude Berklee College of Music graduate, he teaches at Wellesley, University of Connecticut and Brown. http://isakukageyama.com/

JOE SMALL is a taiko artist, who is a member of Eitetsu Hayashi’s Fu-un no Kai and creator of the original concert, “Spall Fragments.” He has apprenticed for two years with Kodo, researched Japanese music as a Fulbright Fellow and holds an MFA in Dance from UCLA. He teaches at Swwarthmore College. www.joesmalltaiko.com

THE LIGHTING DESIGNER
BLU lived in New York for 20 years and was resident designer at the Cubiculo and La MaMa Experimental Theatre Club. A Bessie Award winner, he was lighting designer for renowned dance theater artists such as Sally Gross, Eiko and Koma, Ping Chong, Donald Byrd, Nancy Meehan and Paula Josa Jones.

THE FILMMAKER
YOSHIAKI TAGO, whose video was part of the live performance, has made NEWS FROM FUKUSHIMA into a film. Tago also directed “A.F.O.,” “Believer,” “Worst Contact,” “Meido in Akihabara.” His short “The Song of a Tube Manufacturer” won the runner-up prize at the Yasujiro Ozu Memorial Film Festival in 2013. He served as film adviser for Takashi Murakami, and has worked with Nobuhiko Obayashi, Takashi Miike and Macoto Tezuka. He is a graduate of the prestigious Tokyo film school founded by Shohei Imamura.

YOSHIAKI TAGO

YOSHIAKI TAGO

From the playwright

The two sides of who I am _ poet and journalist _ have long been separate. I am a poet, first and foremost, I felt, and reporting is what I do for my job. But the 2011 Fukushima disaster brought those two sides together in a way that was undeniable, imperative and honest. I am filled with gratitude toward my collaborators, who have turned my words and ideas into a moving, convincing and honorable piece of theater. In this work, we defy the boundaries of cultures, race, generations and genres to tell the story about how our world has created a catastrophe. We don’t pretend to have all the answers. But it’s an important story.

Acknowledgements
Thanks to Akiyoshi Imazeki for photographs of Fukushima for video by Yoshiaki Tago for “Decontamination Ghosts;” Z Space, especially Drew Yerys, Minerva Ramirez, Wolfgang Wachaolovsky, Jim Garcia, Julie Schuchard and Andrew Burmester; Alex Maynard and Adam Hatch for the use of Starline Social Club for rehearsals; Mark Ong of Side by Side Studios for the poster design; Annette Borromeo Dorfman for program design and photographing the performance; Sally Gross, Ping Chong and Meredith Monk for help finding our cast; Ishmael Reed for ongoing support and Tennessee Reed for photography; Hisami Kuroiwa for her wise counsel, filmmaker Kate McKinley; LaMaMa Experiemental Theatre for showing the work in New York in 2015; Melvin Gibbs, Sumie Kaneko, Hirokazu Suyama and Kaoru Watanabe for the music at La MaMa; Bob Holman for presenting an initial reading at Bowery Poetry Club with Yuki Kawahisa, Pheeroan akLaff and Tecla Esposito; Makoto Horiuchi; Yoichi Watanabe and Hiromi Ogawa of Amanojaku taiko in Tokyo; all the members of the Yuricane spoken word band who inspired the poems and stories that developed into this work, and, last but not least, the people of Fukushima.

Yuri Kageyama reports from the no-go zone in Fukushima. Photo by Kazuhiro Onuki.

Yuri Kageyama reports from the no-go zone in Fukushima. Photo by Kazuhiro Onuki.

A World Premiere screening at the Berkeley Video and Film Festival Nov. 2, 2019.  From left to right: Festival founder and organizer Mel Vapour, director Carla Blank, writer/poet Yuri Kageyama and camera-person Kate McKinley. Photo by Tennessee Reed.

Accepting the award at the Berkeley Video and Film Festival Nov. 2, 2019. From left to right: Camera-person Kate McKinley, director Carla Blank, festival founder and organizer Mel Vapour and writer/poet Yuri Kageyama.
Photo by Tennessee Reed.

With director Yoshiaki Tago at the red carpet event.

In Amsterdam in September 2019 for the New Vision International Film Festival, where News From Fukushima was a Finalist Best Asian Feature Film.

more gala shots
News From Fukushima an Official Selection at the ARTS X SDGS festival

I talked about our film and all my great collaborators at the Silent River Film Festival, which screened NEWS FROM FUKUSHIMA August, 2020.

https://www.facebook.com/SilentRiverFilmFestival/videos/644827306160921/

https://www.facebook.com/SilentRiverFilmFestival/videos/1021079638326778/

Haiku March 27, 2021 and Sept. 20, 2021 by Yuri Kageyama

Haiku March 27, 2021 by Yuri Kageyama

Give Me That Power

To keep Dreaming My Dream if not just

To Live in My Dreams

ゆめおもう

ゆめをいきるは

夢の中

Miniature Figure by Munenori Tamagawa

It was Dr. Martin Luther King, who said: “I have a dream,” those words that spoke years ago that powerful message and legacy of Black Lives Matter. Why has our dream as Asians in America so often and so long been lost? Called foreign, invisible, docile, cheap, expressionless, model minorities, we have been silenced, and we have sometimes turned willingly silent, out of fear and the desire to survive in that American conversation between white and Black. Our story has yet to be fully told, explored or studied, even dreamed.

Haiku Sept. 20, 2021 by Yuri Kageyama

墨田川

jet skiおじさんぶっとばす

松田聖子

These days, I live by the Sumida River, which retains much of its Edo Period character. Some recent elements are jarring, such as the people on blaring jet skis that zip up and down the waters on weekends and holidays. The irony of the old pop music that was playing, “Aitakute” by Seiko Matsudo, juxtaposed with this alleged image of hip defiance, was a true Tokyo haiku moment for me.

Japanese Rap for George Floyd _ a poem by Yuri Kageyama

I usually don’t write poetry in Japanese, but I wrote this. And now, looking back, I realize I’ve written Japanese rap. I am going to make this part of the rap section of my song “Nothing Happens.”

Japanese Rap for George Floyd

_ A Poem by Yuri Kageyama

死ぬまえ

のこる生命で

えらんだ言葉

息ができない

彼のおもい

アメリカの差別

歴史のおもい

すべてが

あまりにも

すごくて

言葉がない

息ができない

息ができない

Haiku in Amsterdam

Self-Portrait by Van Gogh at the Rijks Museum in Amsterdam

Haiku in Amsterdam

By Yuri Kageyama (written in Amsterdam Sept. 2019.)

Like any city a Chinese restaurant

Glasses black hair he works hard

He is your son your first date

Your father

Your Lover for life

That Chinaman found everywhere

Our History

Our eternal plight

And he makes me fill with

Pity pride tears

While on the topic of Van Gogh in this Amsterdam reference, sharing my poem “Haiku for Van Gogh” in a reading from several years ago in San Francisco, with bass by Hiroyuki Shido.

THE VERY SPECIAL DAY _ A CHILDREN’S BOOK by YURI KAGEYAMA with PICTURES by MUNENORI TAMAGAWA; Also A FILM BY HAYATTO

Cover for the children's book THE VERY SPECIAL DAY by Yuri Kageyama with pictures by Munenori Tamagawa.

THE VERY SPECIAL DAY is also a film by stop motion artist HAYATTO (August 2019). PLEASE WATCH FOR SCREENINGS.

The trailer:

A birthday is very special for any little boy.
And a little boy is very special for any parent.
This book is an everyday but very special story about the trials and joys of growing up in an imperfect world.
THE VERY SPECIAL DAY by Yuri Kageyama (first published in KONCH, Ishmael Reed Publishing Co., 2013).

A TOKYO FLOWER CHILDREN 2016 publication picture book, with Illustrations by Munenori Tamagawa, Book design by Fengshui Iwazaki.

FOR ORDERS for the book, please go to this artist Munenori Tamagawa’s link , or write to us, using the contact section of this site.

A story about how a defiant young woman tries to make a birthday a very special day for her child all by herself.
A story about how discrimination begins in the home, and how the fight against discrimination also begins in the home.
A story about ice cream at a birthday party and French Fries at the aquarium.
A story about how “they didn’t like us because we were Japanese American, and not Japanese.”
A story about how stars can be that cure-all ideal but no-cost spiritual present.
A story that’s a bit sentimental but honorable and true, written for all the children in the world.
May they stay safe, may they enjoy peace, may they find love and may they know who they really are.

Reading THE VERY SPECIAL DAY at Inokashira Koen Tokyo SUN. Oct. 23, 2016.

Reading THE VERY SPECIAL DAY at Inokashira Koen Tokyo SUN. Oct. 23, 2016. Photo by Junji Kurokawa.

OUR READING OF THE VERY SPECIAL DAY at Inokashira Koen, Tokyo, SUN Oct. 23, 2016. Featuring Live Painting by Munenori Tamagawa, the illustrator of the book.
Left to Right: Yuri Kageyama (writer and storyteller), Hiroshi Tokieda (bass), Munenori Tamagawa (visual artist), Ryan Carter (guitar) and Kouzan Kikuchi (shakuhachi). PHOTOS by Junji Kurokawa.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016. Photo by Junji Kurokawa.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016. Photo by Junji Kurokawa.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016. Photo by Junji Kurokawa.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016. Photo by Junji Kurokawa.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016.

Our Reading of THE VERY SPECIAL DAY at Inokashira Koen SUN Oct. 23, 2016. Photo by Junji Kurokawa.

So I thought about what could be a very special day for Mama, and so I asked her: “Mama, what would you like to do on your funeral?”
Mama stopped moving all of a sudden, and I thought she might even spank me because it was so all of a sudden, though she hardly ever ever ever spanks me.
That was how sudden it was.
Then she went back to normal and said, “I want a lot of beautiful music.”
So I said very quickly to catch up with her suddenness, “Mama, I will play that music. I will.”

_ Excerpt from “The Very Special Day,” a story first published in KONCH: Ishmael Reed Publishing Co. 2013, and a TOKYO FLOWER CHILDREN picture book, published 2016.

More photos from Inokashira Park courtesy park organizers:

06

BOOK PARTY free admission
featuring LIVE PAINTING by Munenori Tamagawa and poet Yuri Kageyama’s YURICANE spoken-word band with Kouzan Kikuchi (shakuhachi), Hiroshi Tokieda (bass), Trupti (vocals), Hirokazu Suyama (tabla).
Special Guests Kenwood Dennard, Biankah Bailey, Jacqueline Mujaya , Taylor Mignon and more.
SUN Aug. 7, 2016 2 p.m. Infinity Books. 1F Komagata Bashi Heights Bldg , 1-2-4 Azumabashi, Sumida-ku, Tokyo, 130-0001
SAT Aug. 13, 2016 2 p.m. Demi Cafe in sora Gallery. 3-14-1 Honcho Kokubunji-shi, Tokyo 85-0012

THE VERY SPECIAL DAY book party at Infinity Books in Tokyo SUN Aug. 7, 2016.

THE VERY SPECIAL DAY book party at Infinity Books in Tokyo SUN Aug. 7, 2016. Photos by Emiko Tokai.

Live Painting with the reading.

Live Painting with the reading.

Kenwood Dennard, professor at Berklee College of Music, reads his poetry at THE VERY SPECIAL DAY

Kenwood Dennard, professor at Berklee College of Music, reads his poetry at THE VERY SPECIAL DAY

Jackie Mujaya speaks about Tanaganika Kids at THE VERY SPECIAL DAY at Infinity Books in Tokyo.

Jackie Mujaya speaks about Tanaganika Kids at THE VERY SPECIAL DAY at Infinity Books in Tokyo. Cherie Willoughby, at right, who also read her poetry.

An Ode to the Asian Uncle Tom _ A Yuricane Poem (or does power always turn evil?) by Yuri Kageyama

NOW PUBLISHED IN THE SUMMER 2018 ISSUE OF KONCH edited and published by Ishmael Reed and Tennessee Reed.

An ode to the Asian Uncle Tom
A Yuricane poem (or does power always turn evil?)
by Yuri Kageyama

a painting collaboration by Munenori Tamagawa and Radio the Artist as Yuri Kageyama reads this poem written by Yuri Kageyama  at What The Dickens in Tokyo Feb 4, 2018.

a painting collaboration by Munenori Tamagawa and Radio the Artist as Yuri Kageyama reads this poem written by Yuri Kageyama at What The Dickens in Tokyo Feb 4, 2018.

You sit prim with your glasses
Behind that desk, title, resume
Won on the backs of
The 442 Purple Hearts
Oblivious in your banal Banana-ism
To the fact that
Yellow is your Color
The most expedient, forgotten,
Cheapest of lives
Hiroshima
My Lai
North Korea
You sip white wine at ethnic restaurants
New York, Tokyo, Dubai, Bangkok
They all look alike
Smiling in Instagram posts
You have it made
You have them duped
You have arrived
Never mind, in your deepest fearful solitary moments,
You can’t help but pick out
Just those
Who look like you:
Race suddenly a Reality;
You must put them down,
And make sure they stay down,
Remain the invisible man, the invisible woman,
Establish as Fact through rumors and appraisals
That People of Color
Can’t be objective, and, be careful,
Get easily used,
You can do the math _ as the stereotype goes _
The slots are limited,
Tokenism being a zero sum game,
Diversity cannot be the majority;
You’ve long lost your ancestral accent
You’ve adopted the air of leaders
You’ve deleted memories
Of how we were all shackled,
We picked strawberries,
We built the Transcontinental Railroad,
We survived behind barbed wires,
Instead
You go to meetings,
Rehearse video appearances,
Take vacations to the Caribbean and Bali,
Sneer at Chinese going shopping,
Plan your retirement,
Asian American
Only to whites

Artwork by Munenori Tamagawa

Artwork by Munenori Tamagawa

SHARING ONLINE A REVIEW OF MY BOOK FOUND ONLINE

Kyoto Review cover

Kyoto Review cover

The writer Yo Nakayama has also translated my poems.
I so liked his versions I’ve read them with my poems.
Mr. Nakayama is an academic and a poet, too, and he has a flock of long hair and reading glasses maybe, and he is wise and soft and brave.
Or so I imagine, as although I maybe have met him, I can’t really remember.
I vaguely remember reading this review when I was younger, and frankly I didn’t really think much of it.
I was too busy dealing with things that went with trying to survive and being creative I did not really appreciate how this older poet was being supportive and so poignant.
And so poetic.
I am older now and do.
Nakayama died in 1997, it says online.
But his writing lives on.
Here, this person I know through Facebook, of all ways, has shared in a message this precious, kindhearted review of my work.
I am grateful, of course, and feel blessed.
But I also feel a sense of vindication about being a poet _ that we are all connected in doing the right, eternal thing by being poets.
Please read the review.
I’ve also updated my Review section on my site with this addition,
Sorry this is belated but thank you, Mr. Nakayama, truly from the poet’s heart:

Saying it her own way
a book review by Yo Nakayama in Kyoto Review, 22, Spring 1989
of “Peeling” by Yuri Kageyama, I. Reed Books, Berkeley, CA

New and important. Yuri Kageyama was born in Japan, but grew up in American culture.
Her work as contrasted with those of previous generations is very articulate and beautiful.
Should you take up this, her collection of poetry, you’ll find 32 exciting poems under five different sections.
In the first section she remembers time spent with her mother. Yuri seems to know where she is from, as here in a poem in which she describes her mother’s profile.

Her face from the side
the cheekbones distinct
is an Egyptian profile sculpture
an erotic Utamaro ukiyoe

and her mother’s lessons:

As soon as I would awake some chilly morning, she would
tell me to go smell the daphne bushes leading to our door.
I still remember their fresh fruitlike pungence

As Yuri grows older, she becomes uncomfortable with her mother and begins to hate her and her culture, which is alien to the American scene.

I dread your touch
when you return
that melts the hurt and vengeance
of wishing
to strangle you

Yuri feels almost physically hurt when she thinks of it. This is one of the characteristics your easily notice in her poetry. She is a physical writer, by which I mean that Yuri tries to write out of her own physical senses, especially when she talks about her involvement with music. In a short poem, “Music Makes Love to Me,” she confesses, “Music makes love to me everyday/ spilling cooled cucumber seeds/ wet flat disks to the tongue/ tickling/ shooting them with exalta-jaculation into my ear//” or in the section “Thought Speak,” she conveys her inner sensations as she listens to music:

music
is
the frantic flap of love doves taking dawn pre-cognizing flight
outside our window
music
is
the silence
between/your kisses

Or she describes her inner world as follows:

eyes closed
forsaken bamboo forest of the mind
hands groping
burrowing darkness like the earth
reaching out
shaking blood
muted and alone

As a young Japanese woman living in America, Yuri is constantly exposed to the situation that she has to say what she has to say: she, however, says it her own way, and I like it very much.
“A Categorical Analysis of the Asian Male or the Guide to Safe and Sane Living for the Asian Female” is a very funny piece in which she says there are four types: the Street Dude or “Lumberjack,” the Straight Dude or “Stereotype,” the Out There Dude or “Bum,” and finally the type four she calls the Ideal Dude, but this is the “Obake,” or the ghost, that is, she says “the perfect man who does not exist.” Once, Filipino writer Carlos Bulosan wrote that in America being a Filipino is a crime. And Yuri is, she says, “tired of the laundry men/ and the dirty restaurant cooks (cuz) they don’t have the powers.”

it’s okay
you see only the race in me
….
It’s okay
cuz, white man,
you have
whiteness
to give

The best part of the book is, however, that which deals with her physical intimacy with her lovers and her own baby. She could have written a categorical analysis of a male partner or the guide to safe and safe mating for a serious woman as well. Only after she has a baby of her own, she begins to realize the importance of the “Strings/Himo,” which she once wanted so badly to break out and couldn’t. Her reflection on the total life: “Having Babies Versus Having Sex” is the final poem in this book. When she sees her man rocking the baby, and looks into Isaku’s eyes and cries with him, she reaches her conclusion: this is the culmination of her womanhood.

Your eyes
Are my eyes
That see and see what I have seen
They can’t ever understand
The love of a Japanese woman
Who waits
Pale powdered hands
Eyes downcast night pools of wetness
Fifteen years for her samurai lover
And when he comes back

Nothing’s changed
Nothing’s changed

These poems could never have been written by anyone but a poetess who has gone through the labor Mother Nature imposes upon the one who creates. If not for Yuri’s sensitivity and capability, this book wouldn’t have been born.

Old Wounds _ a poem by Yuri Kageyama

OLD WOUNDS
_ a poem by Yuri Kageyama

the pain throbs
gnarled stuck intestines
wobbly knobs of scars inside
tracing where the knife slashed
to deliver your son
so many years ago
the bleeding has healed

betrayal, forgiven but not forgotten,
sealed lips of hushed kisses,
the chasm of hurt
tugging, tearing at your chest,
has turned into heartbeats
fading with age
just going

da-thump da-thump da-thump
barely murmurs
whispers of skin
you were young then
and had dreams,
not knowing other things,
unlike honor,

can elude,
again, and again,
for skin color, sex, age,
growing used to anonymity
outgrowing disappointment
but old wounds
they hurt like new wounds

THE NEW AND SELECTED YURI GETS A BOOK REVIEW

My book of poems and short stories THE NEW AND SELECTED YURI from a few years ago just got A GREAT REVIEW.

Thanks so much!

“These are the stories most in need of being heard, and her crisp-but-provocative writing provides a vehicle both uncomfortable and enjoyable.” _ Todd Ellis.