Five films, all featuring bilingual/bicultural poet/storyteller YURI KAGEYAMA, are being shown at a tiny Tokyo club. Among the works are two directed by YOSHIAKI TAGO: A performance by American-based actors and musicians in San Francisco, and a documentation of Kageyama’s reading in Japan. Stop motion artist HAYATTO has painstakingly created animation of Kageyama’s short story. SAT Feb. 11, 2023, from 2 p.m. ShimoKitazawaTei FREE ADMISSION

詩人カゲヤマユウリが関わった5作品が東京で上映される。映画、テレビドラマなど数多くてがける多胡由章監督のニュースフロムフクシマとトーキング太鼓の他、国内海外活躍のストップモーションアーティストHAYATTO のアニメなどが下北沢亭

2月11日(土) 午後2時 入場無料。

For more information and interviews 取材連絡先


YOSHIAKI TAGO directed “Sabai Sabai,” “Women at the Cash Register,” “Worst Contact,” as well as many Japanese TV drama shows, including “Atomu No Ko.” He won an award at the Yasujiro Ozu Memorial Film Festival. A graduate of the prestigious Japan Institute of the Moving Image, founded by Shohei Imamura, Tago has worked with Nobuhiko Obayashi, Takashi Miike, Takashi Murakami and Macoto Tezuka.

多胡由章監督は映画「サバイサバイ」「夜の底で魚になる」「レジを打つ女」「ワーストコンタクト」 他「アトムの童などテレビ番組も数多く手掛ける。小津安二郎記念蓼科高原映画祭受賞。日本映画大学卒。大林宣彦、三池崇史、村上隆、手塚眞とコラボ

HAYATTO specializes in stop motion film, in which the figures he makes by hand are moved, with a minimum of eight frames needed per second. His credits include “Box Cats,” as well as advertising for T-fal and Mitsui Sumitomo.

HAYATTO が特化するストップモーションは手造りのフィギャーやパーツをすこしづつ動かし少なくとも一秒8フレームで表現する愛あふれる作品。ショート「ハコネコ」やT-falや三井住友の広告で活躍。

YURI KAGEYAMA is a poet, writer, journalist, videographer, born in Japan and raised in Maryland and Alabama. Her books include THE NEW AND SELECTED YURI (Ishmael Reed Publishing Co.). Her works are in KONCH, Bigotry on Broadway (Baraka Books), Life and Legends, Tokyo Poetry Journal and many other literary anthologies and magazines.


著書にはTHE NEW AND SELECTED YURI (Ishmael Reed Publishing Co.) など数多くの文芸雑誌や文集に掲載。      


FREE ADMISSION Free Drink And Come/Leave As You Wish.

入場無料      出入り自由    無料ドリンク付き


東京都世田谷区代沢5−29−9 2F  

5-29-2 Daizawa Setagawa-ku Tokyo

SAT Feb. 11, 2023  2 p.m.  ~  5 p.m.

2023年2月11日(土)午後2時 ~ 5時   

上映順と時間 Works in order of screening and duration:

I WILL BLEED, STORY OF MIU by Yuri Kageyama 2 min, 6 min


NEWS FROM FUKUSHIMA by Yoshiaki Tago 1 hour 15 min

Q&A with the artists 作者達との談話 20 min

TALKING TAIKO by Yoshiaki Tago 44 min



My AP Stories for 2022 with links on the site to some earlier years.

My AP Story Dec. 30, 2023 on Nissan, Renault balancing out the shares they hold in each other.

My AP Story Jan. 20, 2023 on Japan’s inflation.

My bit on the Japanese minister is part of this AP Story Jan. 18, 2023 on the Davos World Economic Forum.

My AP Story Jan. 13, 2023 on Akio Toyoda talking about converting old cars into ecological ones.

My AP Story Jan. 26, 2023 on Toyoda stepping aside as CEO.

I’m a Contributor to this AP Story Jan. 6, 2023 on Samurai Japan at the World Baseball Classic.

I’m also a Contributor to this AP Story Jan. 10, 2023 about a Rangers pitcher signing with SoftBank.

My AP Story Jan. 2. 2023 on the Emperor greetings well-wishers.

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.

My First Film

I’ve written, directed and edited my first film “I Will Bleed.”
I am still learning; I am now a student at the New York Film Academy.
But it is wonderful to learn visual storytelling _ another way to express my poetry.
I’m working on my second film.

“I Will Bleed,”
a film written and directed by Yuri Kageyama

Woman: Raquel Prado
Man: Rodrigo Albuquerque

Camera by Rodrigo Albuquerque and Desiree Cantuaria

Music “I Will Bleed” based on poetry by Yuri Kageyama
Lyrics by Yuri Kageyama and Trupti Pandkar
Vocals by Trupti Pandkar
Music composed by Trupti Pandkar and Hiroshi Tokieda

Performed at the SFJAZZ CENTER in San Francisco June 2014,
by the Yuricane band
featuring Hirokazu Suyama on drums, Hiroshi Tokieda on bass, Hide Asada on guitar,
and featuring Trupti Pandkar on vocals.

September 2014.
A New York Film Academy student music movie film.