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

 

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

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 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.

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/

Loving Younger Men _ a poem by Yuri Kageyama in collaboration with Yui Shikakura on shamisen and song

“Loving Younger Men,” a poem written by Yuri Kageyama, read by Yuri Kageyama with Yui Shikakura on shamisen and singing at Bar Gari Gari in Tokyo at a Drunk Poets See God gathering Dec. 22, 2017. Her song is traditional Japanese “kudoki,” in which a woman talks about being abandoned by her lover, a genre that is sad but also an erotic celebration.
“Loving Younger Men” was first published in BEYOND RICE, A BROADSIDE SERIES, Mango Publications and NOLO Press, 1979.
Loving Younger Men
a poem by Yuri Kageyama
Only the bodies of young men aroused her; the pure innocence in their wide dark eyes, the wild still animal strength in their muscles, the smoothness of their skin, so shiny, stretched out over their boy-like shoulders, flat stomachs, abdominals rippling gently, their thick thighs that could thrust forever into the night, their soft moist lips, where their tonges, so delicious, dwelt, which darted against, into her vagina, making her moan with joy, forgetting everything, which felt so strong against her own tongue at one moment, yet another, seemed to melt like caramel in the back of her throat, their dry fingers, that touched her in the most unexpected and expecting spots, their penises, half-covered by their black curls, seemed smaller, less developed, less threatening, yet as their shoulders strangely widened when they held her, their penises filled her, pointed against her deepest uterine insides, hurting her with a pleasurable pain, as though she could sense with her hand, their movements from outside her belly. Her father beat her as a girl. She ran from him, crying, please don’t hit me! please don’t hit me! No, rather she stood defiant, silent, silent tears drunk down her chest, till he, in anger or fear, slapped her again and again, once so hard she was swung across the room, once on her left ear so that she could not hear for three weeks. She frequented bars, searching for young men who desired her. She sat alone drinking. She preferred the pretty effeminate types _ perfectly featured, a Michelangelo creation, island faces with coral eyes, faces of unknown tribal child-princes. To escape her family, she eloped at sixteen, with an alchoholic. who tortured her every night, binding her with ropes, sticking his penis into her mouth until she choked, hitting her face into bruises, kicking her in the stomach, aborting her child, his child. The young boys’ heads, she would hold, after orgasm, rocking them in her arms. She would kiss the side of their tanned necks, breathe in the ocean scent of their hair, lick their ear lobes and inside their ears. When they fell asleep, sprawled like a puppy upon her sheets, their mouths open, she would lie awake watching, watching, watching, admiring their bodies, how so aesthetically formed, balanced, textured. What she enjoyed the most was their fondling her breasts, suckling, massaging the flesh, flicking the tongue against the nipple, biting, sucking till her nipples were red-hot for days. She could come just by this, without penetration. When she is alone, she cries. In the dark, she reaches upwards, into the air, grabbing nothing.

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.

OH MY BUDDHA _ A poem by Yuri Kageyama with Music composed by Tea and Hiroshi Tokieda

Buddha in Bangkok. Photo by Yuri Kageyama

Buddha in Bangkok. Photo by Yuri Kageyama

OH MY BUDDHA
_ a song about faith, love and other things
By Yuri Kageyama

REPEATING THEME:
My name is Yasodhara
Wife of Buddha
Mother of Rahula
I ride a white elephant
I am Siddharta’s woman

VERSE 1
You took off to find Nirvana
Became a hero for the poor
You just took off one sunny day
And found enlightenment
While I’m stuck in the kitchen
Barefoot and pregnant, alone

(Repeat theme)

VERSE 2
You’ve started a religion
See statues in your likeness
Of gold and bronze and wood
Sitting prim on that lotus
While I’m having your babies
Feeding them, aborting them, alone

(Repeat theme)

VERSE 3
You remember I cooked you breakfast?
So you could go and contemplate
Sitting 49 days under the Bodhi tree
To discover, sacrifice, meditate?
While I’m crying in my misery
Breathing my prayers, alone

(Repeat theme)

REFRAIN
You’re a superstar
I’m a nobody
You live in history
I die unknown
When I awoke
There was no sign of you
When I awoke
There was no sign of you
My universe went up in smoke
My universe went up in smoke
Oh, my Buddha
Oh, my Buddha

Sung by Tea Tokieda and Read by Yuri Kageyama.
Music composed by Tea and Hiroshi Tokieda.
Bass by Hiroshi Tokieda, percussions/tabla by Hirokazu Suyama Jackson and shakuhachi by Kouzan Kikuchi.
At Infinity Books AUG 7, 2016, in Tokyo.
Inspired by and dedicated to Toshinori Kondo, who is constantly exploring the meaning of the Asian sound/literarture/self in the world, and told me once that we should all start saying: “Oh My Buddha,” like the way Westerners say: “Oh My God.”
So this is a song about what it would like to be the wife of Buddha _ that behind-every-man-is-a-woman story, and how we women are selfless in love and almost always invisible:

Buddha in Bangkok. Photo by Yuri Kageyama

Buddha in Bangkok. Photo by Yuri Kageyama

A reply to a musician doing a song about Japanese women wearing cheap perfume

A reply to a musician doing a song about Japanese women wearing cheap perfume
CHEAP PERFUME _ A poem by Yuri Kageyama

CHEAP PERFUME
that whiff snuggled in the commuter train
it makes him want to puke, he says
CHEAP PERFUME
cheap suit, chubby arms, fat feet
she is smug and straight, he feels
CHEAP PERFUME
rushing to work, she squirts it on
escape in a heavenly scent, dream of a faraway world
CHEAP PERFUME
a sculptured bottle costs 3,000 yen
lots of zeroes fewer than what fashion usually costs
CHEAP PERFUME
Yves Saint Laurent, Gucci, Marc Jacobs, Chanel No. 5
a well-earned chance to inject that glitz high
CHEAP PERFUME
a fragrant aura like an “OL” halo
to protect all women against chauvinist evil
CHEAP PERFUME
it doesn’t take that much to know
No PERFUME ever comes CHEAP

LOVING YOUNGER MEN a poem by Yuri Kageyama with drums by Hirokazu Suyama

LOVING YOUNGER MEN
A Poem by YURI KAGEYAMA
With Drumming by HIROKAZU SUYAMA
Film by ADAM LEWIS

A reading at the Japan Writers Conference in Okinawa, Japan, Nov. 2, 2013.
“Loving Younger Men” was first published in BEYOND RICE, A BROADSIDE SERIES, Mango Publications and NOLO Press, 1979.

Only the bodies of young men aroused her;
the pure innocence in their wide dark eyes,
the wild still animal strength in their muscles,
the smoothness of their skin, so shiny, stretched
out over their boy-like shoulders, flat stomachs,
abdominals rippling gently, their thick thighs
that could thrust forever into the night, their
soft moist lips, where their tonges, so delicious,
dwelt, which darted against, into her vagina,
making her moan with joy, forgetting everything,
which felt so strong against her own tongue at one
moment, yet another, seemed to melt like caramel
in the back of her throat,
their dry fingers, that touched her in the most
unexpected and expecting spots,
their penises, half-covered by their black curls,
seemed smaller, less developed, less threatening,
yet as their shoulders strangely widened
when they held her, their penises filled her,
pointed against her deepest uterine insides,
hurting her with a pleasurable pain, as though
she could sense with her hand, their movements
from outside her belly. Her father beat her as a girl.
She ran from him, crying, please don’t hit me! please
don’t hit me! No, rather she stood defiant, silent,
silent tears drunk down her chest, till he, in anger
or fear,
slapped her again and again, once so hard she was
swung across the room, once on her left ear so
that she could not hear for three weeks. She
frequented bars, searching for young men who desired
her. She sat alone drinking. She preferred
the pretty effeminate types _ perfectly featured,
a Michelangelo creation, island faces with coral eyes,
faces of unknown tribal child-princes. To escape
her family, she eloped at sixteen, with an alchoholic.
who tortured her every night, binding her with ropes,
sticking his penis into her mouth until she choked,
hitting her face into bruises, kicking her in
the stomach, aborting her child, his child.
The young boys’ heads, she would hold, after orgasm,
rocking them in her arms. She would kiss the side of their
tanned necks, breathe in the ocean scent of their hair,
lick their ear lobes and inside their ears. When they
fell asleep, sprawled like a puppy upon her sheets,
their mouths open, she would lie awake watching,
watching, watching, admiring their bodies, how so
aesthetically formed, balanced, textured. What
she enjoyed the most was their fondling her breasts,
suckling, massaging the flesh, flicking the tongue
against the nipple, biting, sucking till her nipples
were red-hot for days. She could come just by this,
without penetration.
When she is alone, she cries. In the dark, she reaches
upwards, into the air, grabbing nothing.

STORY OF MIU by Yuri Kageyama, a reading with dance and music at the Bowery Poetry Club in New York (synopsis video)

STORY OF MIU a reading in New York _ synopsis video of a 40 minuted performance piece

Written by Yuri Kageyama. Directed by Carla Blank. Dance by Yuki Kawahisa.
Read by Yuri Kageyama and Yuki Kawahisa.
Music by Pheeroan akLaff and Tecla Esposito.
At the Bowery Poetry Club in New York, N.Y. April 1, 2012.
Film by Luis Silva.
Camera by Shiho Kataoka, Rebecca MacNiece and Khach Turabian.
A COLLAGE OF WORDS, SOUND AND MOVEMENT, A LATTER DAY NOH PLAY OF PAIN, LOVE AND SURVIVAL THAT DEFIES RACISM AND SEXISM OVER MOMENTS AND GENERATIONS.
A Tokyo Flower Children Production
“Story of Miu” was first published in “The New and Selected Yuri: Writing From Peeling Till Now” (Ishmael Reed Publishing Co., 2011).

Poetry with Music at Tokyo Woodstock

Poet YURI KAGEYAMA
reading “ode to the stoller” and “Little YELLOW Slut”
with the Yuricane
_ Hirokazu Suyama (drums), Hiroshi Tokieda (bass), Yuuichiro Ishii (guitar) and Winchester Nii Tete (kpanlogo drums)
at Tokyo Woodstock 2013 at What the Dickens,
Film by Luis Silva.
July 21, 2013.

ode to the stroller
a poem by Yuri Kageyama

we zip weightless like silent angels
up and down San Francisco hills
running on the mother of all energy
greener than solar
rolling rolling rolling
with laughter
cream acid rock ‘n’ rolling
lightning dazzling wheels
gara-gara-gara-gara
teethers jangling dangling dancing
going mad on strangle-free rubbery ribbons
up and down the Avenues
J-town, Clement Street
Golden Gate Park
Museum of Modern Art
we are singing:
“Ouma no oyako wa nakayoshi koyoshi
itsudemo issho ni pokkuri pokkuri aruku”
perfume wind in our hair
springing over potholes
not even stopping just for breast feeds
connected as one through this magical machine
me pushing
you riding
the Lamborghini of strollers
the Gundam of strollers
the little train that could of strollers
up up up into the joyous clouds
zooming wheeeeee
down slurping slopes
around swervacious curves
we are one
yes, we are one
tied in the past with our
umbilical cord
and
even in death
in our dreams

Little YELLOW Slut
a poem by Yuri Kageyama
first published in KONCH MAGAZINE, 2009.

You know her:
That Little YELLOW Slut, proudly gleefully
YELLOW-ly hanging on Big Master’s arm,
War bride, geisha,
GI’s home away from home,
Whore for last samurai,
Hula dancer with seaweed hair,
Yoko Ohno,
Akihabara cafe maid,
Hi-Hi Puffy Ami/Yumi,
Kawaiiii like keitai,
Back-up dancer for Gwen Stefani,
Your real-life Second Life avatar
Eager to deliver your freakiest fetish fantasies,
Disco queen, skirt up the crotch,
Fish-net stockings, bow-legged, anorexic, raisin nipples, tip-toeing Roppongi on
Stiletto heels.

Yessu, i spikku ingrishhu, i raikku gaijeeen, they kiss you,
hold your hand, open doors for me,
open legs for you, giggling pidgin, covering mouth,
so happy to be
Little YELLOW Slut.

Everybody’s seen her:
That Little YELLOW Slut, waiting at
Home, cooking rice, the Japanese
Condoleezza Rice,
Smelling of sushi,
Breath and vagina,
Fish and vinegar,
Fermented rice,
Honored to be
Cleaning lady,
Flight attendant for Singapore Airlines,
Charlie Chan’s Angel,
Nurse maid, gardener, Japan-expert’s wife,
Mochi manga face,
Yodeling minyo, growling enka,
Sex toy, slant-eyes closed, licking, tasting, swallowing STD semen,
Every drop.

Yessu, i wanna baby who looohkuh gaijeen, double-fold eye, translucent skin, international school PTA,
maybe grow up to be fashion model, even joshi-ana,
not-not-not happy to be
Little YELLOW Slut.

I recognize her:
That Little YELLOW Slut, rejecting
Japanese, rejected by Japanese,
Ashamed,
Empty inside,
They all look alike,
Faceless, hoping to forget, escape
To America,
Slant-eyed clitoris,
Adopted orphan,
Dream come true for pedophiles,
Serving sake, pouring tea, spilling honey,
Naturalized citizen,
Buying Gucci,
Docile doll,
Rag-doll, Miss Universe, manic harakiri depressive, rape victim, she is
You, she is me.

Hai, hai, eigo wakarimasen, worship Big Master for mind, matter, muscle, money, body size correlates to penis size,
waiting to be sexually harassed, so sorry, so many,
so sad to be
Little YELLOW Slut.

TURNING JAPANESE poetry and reading by Yuri Kageyama

TURNING JAPANESE a poem by Yuri Kageyama
Film and Photos by Ian Thomas Ash
Reading by Yuri Kageyama
Wincester Nii Tete on percussion and Hiromichi Ugaya on bass at The Pink Cow in Tokyo for a “Looking At Fukushima” event May 7, 2013.

TURNING JAPANESE

a poem by Yuri Kageyama

Turning Japanese is not masturbation
Could even be for sale
So be proud

Take architecture:
We take space that’s smaller than a toilet
Create a garden to express the Universe
Todaiji Temple grandeur hierachy
It doesn’t even use any nails

Turning Japanese is not masturbation
Could even be for sale
So be proud

Take ikebana:
Flowers and herbs and blades of grass
Sculpture ecology Basho-esque balance
Homage to God’s perfection of design
It doesn’t even last a week

Turning Japanese is not masturbation
Could even be fore sale
So be proud

Take law and order:
Our trains are clean, run always on time
Apology on the PA if they’re two minutes late
The homeless politely take off their shoes
To get in their cardboard homes

Turning Japanese is not masturbation
Could even be for sale
So be proud

Take politics:
They tell us we have a democracy
Imported direct from the US of A
A new prime minister every year or so
What’s his name _ Koizumi, Abe, Fukuda, Aso, Hatoyama, Kan, Noda _ Abe again?
Please remember!

Turning Japanese is not masturbation
Could even be for sale
So be proud

Take women:
Excuse me, I mean, Take girls:
Uniform miniskirts, eyelash extensions
Never have jobs or grow older than 13
But grow Barbie’s breasts

Turning Japanese is not masturbation
Could even be for sale
So be proud

Technology:
Robots, Pokemon, gadgets galore
Attention to detail, precision with vengeance
We get everything right _ unless something goes wrong
Like a nuclear meltdown

Turning Japanese is not masturbation
Could even be for sale
So be proud

Celebration
Revolution
Masturbation
Nuclear nation
Hydrogen explosion
Can I have your attention
Masturbation
Radiation
Nuclear nation …..