Five events to keep an eye on at the Japan Cultural Expo – with Kris Yoshie

Held at the Tokyo National Museum from June 30 to August 23 2020, this exhibition dug deep into the history and cultural significance of the kimono. It touched on themes such as the garment's origins, its evolution and its contemporary role, and featured a range of remarkable items – from the only remaining kimono decorated by master painter Ogata Korin and a jinbaori coat worn by the 16th-century warlord Oda Nobunaga to the OTT clothing designs of Taro Okamoto. 

For Kris Yoshie, the exhibition stood out for its extensive range. ‘The show was interesting because it featured a wide variety of kimono, not only those of a specific artist or era,’ she says. ‘For those who weren't able to attend, the Japan Cultural Expo website has video of the first half, including explanations of the garments exhibited. The clip can be viewed until the end of March 2023, so you can explore the history of the kimono almost like at the exhibit itself.’ (Note: the exhibition's official website will be closed by the end of March 2021, but some of the videos will be made available on the Japan Cultural Expo website instead.)

‘I used to wear kimono on occasions such as New Year’s and to my coming-of-age ceremony, but have not been able to do so after becoming disabled. But come to think of it, before Japanese people started wearing Western clothing, everyone – including those with disabilities – dressed in kimono. That speaks both to the adaptability of the garment and to the ingenuity of our ancestors. I like how the kimono's sustainability, how it can be resized and turned into other items, is coming into focus again.’

Note: This exhibition ended its run on August 23 2020.

This tasty display themed around traditional ukiyo-e art and Japanese cuisine took over the Mori Arts Center Gallery from July 15 to September 13 2020. Famous woodblock print artists such as Katsushika Hokusai, Utagawa Hiroshige and Utagawa Kuniyoshi depicted many Edo food scenes in their work, and ‘Oishii Ukiyo-e’ introduced their art along with Edo-period recipes. The result was a mouthwatering genre mashup that attracted a large and diverse audience.

‘To be honest, I haven’t really been big on ukiyo-e,’ says Kris Yoshie. ‘The genre didn’t feel accessible to me, but this food-themed exhibition changed that.’

‘I feel like Edo culture was really ahead of its time in that it was so eco-friendly. The people of Edo ate fermented food, dressed in kimono and so on. This exhibition brought the food depicted in woodblock prints, and Edo culture as a whole, to life by recreating Edo-period dishes in the present and highlighting them through photos and recipes. It offered an opportunity to rediscover the sustainable, eco-friendly and healthy cuisine of traditional Japan.’

Note: This exhibition ended its run on September 13 2020.

This ambitious display focuses entirely on Kenzo Tange, one of Japan's leading postwar architects and a giant of Modernism often mentioned in the same breath as Le Corbusier, with a special focus on his oeuvre and influence on contemporary architecture.

Having produced many of his most iconic works during Japan’s era of remarkable economic growth in the decades after World War II, Tange is famed for designing the Yoyogi National Gymnasium, built for the 1964 Tokyo Olympics and set to host events at this year’s Tokyo Games as well. ‘Kenzo Tange 1938-1970’ zooms in on the Yoyogi National Gymnasium building and incorporates educational lectures, guided tours and film screenings.

Kris Yoshie’s interest in food, clothing and shelter draws her to architecture, too. ‘Kenzo Tange took traditional Japanese architecture, which sees structures as part of nature, and brought it into the modern era. I’m hoping to see this connection between architecture and the Japanese view on nature at the exhibition.’

The Utekanpa Festival seeks to highlight the charms of Ainu culture from a new perspective and to invite a diverse range of people to shape that culture in the present. This is accomplished with ‘Touch the Ainu Culture’, a website aimed at promoting Ainu culture to the public. The website features the Ainu language, traditional songs called upopo and other Ainu music, embroidery, food and much more.

‘Hearing that a National Ainu Museum had opened in Hokkaido, I was determined to check it out,’ says Kris Yoshie. ‘To me, the Ainu embody both harmony with nature and a lifestyle that respects others and our planet. It’s like their words on these matters have more weight than mine, seeing that I live in the city. I’ve never really studied Ainu culture, and would so much like to learn by experiencing it on site. The pandemic makes travelling difficult right now, so I welcome this opportunity to get in touch with the culture online.’

The NOBODY KNOWS project consists of history-focused tours and innovative shows featuring traditional performing arts, all taking place in Japan Heritage-designated locales throughout the country. Tours were held in six locations in 2019, while the 2020 edition, in response to the Covid-19 pandemic, saw the on-site events replaced by online programmes that provide viewers with an in-depth look at history, culture and the traditional arts.

For Kris Yoshie, folk arts contain ‘an element of ritual’. ‘They’ve have been passed down from generation to generation in specific settlements and are part of everyday life. The sort of tour package provided under the auspices of NOBODY KNOWS is a great idea, as there aren’t many opportunities to experience local performing arts. I like folk arts myself, and have often travelled to see performers practice and perform at festivals. That considered, I think it’s unfortunate that the programme had to be turned into an online-only offering.’

‘The true essence of art and culture can be found in its sacred element – the presenting of dances and songs to the deities. That’s something I’ve come to feel quite strongly after working on art projects together with people with disabilities. Their art is instinctual rather than artificial. I feel like art and culture is now returning to its roots, and it’s a direction I’d like my own work to take, too.’