The Japan Society Review 101
Book, Stage, Film, Arts and Events Review

Issue 101 Volume 18 Number 1 (August 2023)

The Japan Society Review is Back! After a hiatus of one year
since our celebration of the 100th issue of the publication,
The Japan Society Review returns full of energy and great
content, featuring books on Japanese design, gardens
and traditions, as well as literary fiction and contemporary
music made in Japan.
The first review of this issue presents a survey ofJapanese design as seen through the lens of Japan’s
traditional colour palette. Rossella Menegazzo’s Iro: The
Essence of Colour in Japanese Design provides a uniqueroute to a deeper appreciation of the complex jigsaw ofJapanese culture, colour and design cleverly contextualising
the relationship of Japanese people with colour.
The following two reviews also focus on design andtraditional culture, but approach them from very different
perspectives. With instructive drawings and step-bystep techniques, Inside Your Japanese Garden by Sadao
Yasumoro and Joseph Cali, walks us through designing andcreating our very own Japanese garden. Using traditional

photographic methods, Umui: A Journey Across Okinawa
by Everett Kennedy Brown takes readers on an immersive
exploration of Okinawa, capturing the resilient spirit of its
people and unveiling the unseen world that animates theculture of the islands.
This issue also includes reviews of two fictional
works recently translated into English, Dragon Palaceby Kawakami Hiromi, a collection of short stories by thecelebrated author of Strange Weather in Tokyo, and Finger
Bone a war novel by award-winning author Takahashi
Hiroki.
We close this 101st issue with a review of the live
performance of singer Yoshioka Nao at The Jazz Cafe in
London in July 2023. Known for her expressive voice andcharismatic stage presence, Yoshioka has been making
waves in the music industry, recently releasing her latest
single “Stuck Wit U”.
Alejandra Armendáriz-Hernández

Contents
1)

Iro. The essence of Colour in Japanese Design byRossella Menegazzo

2)

Inside Your Japanese Garden: A Guide to Creating a
Unique Japanese Garden for your Home by Sadao
Yasumoro and Joseph Cali

3)

Umui: A Journey Across Okinawa by Everett Kennedy
Brown

4)

Finger Bone by Takahashi Hiroki

5)

Dragon Palace by Kawakami Hiromi

6)

Yoshioka Nao Live Performance

EditorAlejandra Armendáriz-Hernández
Reviewers
Cameron Bassindale, Katie Croft, Laurence Green, Jasmin Lau,
Renae Lucas-Hall and David Tonge.
Image from Inside Your Japanese Garden.

Iro. The essence of Colour inJapanese Design
by Rossella Menegazzo
Phaidon (2022)
ISBN-13: 978-183866533
Review by David Tonge
Rossella Menegazzo, the co-author of the best seller
Wa. The Essence of Japanese Design, starts this bookby asking us a simple question:‘What colour is Japan. Is it red like the prominent circleof the Japanese flag, or the outlined lips and eyes of ageisha against her white foundation, the dramatic lines
painted on a kabuki actors face, or the wood lacquersand pavilions in Japanese shrines?’

Simple questions often have complex andnuanced answers and as Menegazzo points out, whenit comes to colour we all have an individual emotional
response. For example, I am personally drawn to thedeep indigo blue of Japanese dyes used in fabrics
of all kinds and, if we are not being too picky about
tones and hues, also in the prints of Hokusai. For many
people however, it’s the muted monotone colours of
Muji and the polished concrete greys of Ando Tadao’s
buildings that do it for them. No doubt you will haveyour own favourites, a reminder of your connection
with Japan.
From this insightful first chapter – ‘Chasing
Ghosts, Traditional Japanese colours, from nature to
design’ (pp. 5-9), we are taken on a fascinating journeyof colour in the context of Japanese culture and history.
Menegazzo explains how, as with many aspects ofJapanese culture, the natural world is of fundamental
importance to the creation, use and meaning of colour.
How the kanji for colour – iro 色 – like many kanji has
expanded its meaning beyond describing the colour
itself, to include facial expressions, landscapes andaspects of sexuality and eroticism. And, how in theepic Heian period (794-1185) novel Genji Monogatari(Tale of Genji, c.1008) by Murasaki Shikibu, colour andnature were used in the names and nicknames of key
characters.
It won’t be surprising to those who study Japaneseculture to learn that complex rules were applied to theuse of colour, as Menegazzo observes (p. 5):‘No curtain, screen, ribbon, fan or piece of writing
paper was chosen and used without considering thesophisticated and complex rules – inspired by nature –that defined its shape, material and colours...’2

Through a whistle stop tour of the great periodsof Japanese history – from Nara (710-794) up tomodern day, we learn how each period had its own
set of aesthetic rules applied to the appropriate use ofcolour as influenced by the prevailing cultural, politicaland social issues of the day. These, as in Westerncultures, were led and practiced by those in courtly
life and leadership. But we also learn how the practiceof Zen philosophy and its focus on austerity, modesty
and simplicity grew to become an alternative strandof aesthetics, ultimately leading to the tea ceremony
and the practice of wabi sabi we hear much of today.
This strand promoted the creation of colours such as
the muted shades of green, brown and ash we might
associate with the more urbane Japanese fashion
brands of today.
From a designer view point, what I love about
this book is that it puts Japanese people and theirrelationship with colour into sharp focus. For example,
I have often wondered why Japanese companies
use, from a Western market view point, what
appear to be weak and often layered and gradated
colours. Menegazzo perfectly explains this cultural
phenomenon by pointing out the Heian period court
practice of layering items of clothing to create a
specific hue or gradation of colours connected social
status, occasion, or season. These might be made ofjust two robes but could be up to 18 robes for a formal
event. Quite apart from – how do you walk in that? –we can see 1000 years later the legacy of this practicein the use of coloured gradients used in modern day
Japanese packaging, posters, products, and clothing.
Before we luxuriate in the beautiful photography
and curated objects chosen to express the 200 carefully
selected colours (pp. 10-273), Menegazzo leaves us
with a handy and poetic shorthand for understanding
the meaning and categorisation of Japanese colours –abundance and absence. Abundance are the colours
which characterise the rich layering of colours, dyes
and pigments as expressed through Japans rich historyof the arts. And absence are the colours we might most
associate with modern day Japanese design including
neutral tones and black & white.
Its impossible to pick up this book without
marvelling at the attention to detail, design andproduction quality that even the famously hard toplease Japanese would be proud to own. Publishedby Phaidon and designed by Julia Hastings, Iro is a
flexibound book with Watoji-style stitching and afabric embossed cover. The French fold pages are
printed edge to edge with a coloured gradient toIssue 101 Volume 18 Number 1 (August 2023)

represent the colour being explained. The choice offolded pages becomes evident as you turn and lookat the edge of the book when the spectrum of colours
from koubaiiro (plum safflower red) to koiro (darkpurple) and everything in-between is revealed to you.
This, at least for me, acts as a key to where I might want
to look next.
They say you shouldn’t judge a book by its cover,but in this case you absolutely can. It is part reference,part coffee table book and part colour chip book –Menegazzo has even given us a spot colour index foreach colour (pp. 274-283), in case you want to try it
home!
If you are interested in the complex jigsaw ofJapanese culture, colour and design this book will be agreat addition to your collection.§

Inside Your Japanese
Garden: A Guide to Creatinga Unique Japanese Garden
for your Home

entrance; medium sized gardens; small gardens. The
final section gives advice on construction of elements
including various types of walls, paths, fences and stonearrangement. There are also detailed construction
notes for making various features including koshikake
machiai (a covered waiting bench), dobashira (earthen
bridge) and amigasa mon (straw hat style gate).
Although this book is suitable for someone
without any prior knowledge of Japanese gardens,
it has not been oversimplified or dumbed-down.
In fact, it includes a great deal of terminology anddesign features specific to Japanese gardens, andexplains a few historical aspects in detail, such as therelation between the garden and the tea ceremony.
Cali and Yasumoro admirably try to cover almost
everything a person might need to know to build
their own Japanese garden. However, it should be
noted that detailed information about planting
design and onward maintenance of gardens are notincluded, so if you want to read about pruning etc,
this is not the book for you. On the other hand, if you
are considering creating a new garden, or you wantto understand more about the design approach of aleading Japanese garden maker, you are likely to findthe information in here valuable. As Yasumoro is agarden builder, he includes a large quantity of practicalinformation, which is one of the main strengths ofthis book. Although I can’t claim to have read every
book on Japanese gardens, many published in English
tend to focus on explaining concepts or history overpracticalities. Of course, depending on their interests, I
expect that some readers would pore over the detailed
construction diagrams for hours, whilst others wouldfind them tedious and skip them immediately.
Throughout the book, the advice is solid but
lightly given, without any labouring of ‘rules’ thatmust be adhered to, or pressure to hone particularskills in advance. In fact, Yasumoro’s encouraging tone
assumes that the reader is both willing and able tobuild their own garden, regardless of experience. As aby Sadao Yasumoro and Joseph
Cali
Tuttle Publishing (2021)
ISBN-13: 978-4805316146
Review by Katie Croft
I was introduced to Sadao Yasumoro in Tokyo a few
months ago, when he gave me this book. On thatday, he was directing work at the site of a new garden
project in Naka-Meguro, before taking a group of us
to visit some of his completed garden projects (twoof which are featured in this book). Despite being in
his 80s and with reduced mobility, he maintained
enthusiasm, energy and a surprisingly wicked senseof humour throughout the day. Although I didn’t
mention it to him then, I was so struck by Yasumoro
san’s energy, passion and talent that I immediately
decided to review the book for the Japan Society.
Sadao Yasumoro has been building gardens
in the Kanto region for over 60 years, where he is awell-respected garden designer. Inside Your Japanese
Garden was co-written with Jospeh Cali, who is agraphic designer and author of works including The
New Zen Garden. It is part instruction manual and part
retrospective of Yasumoro’s work, primarily written
for private homeowners who may be looking tocreate their own Japanese-style garden, or for those
who have an amateur interest in Japanese gardens.
Cali’s introduction includes an overview of key design
and philosophical elements of the Japanese garden
and gives some general advice on the approach togarden making. The book is thereafter divided into
four sections. The first three sections illustrate gardensthat Yasumoro has built, each case study analysed to
explain different aspects of garden making: the garden
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3result, this book is accessible and light-hearted as wellas inspirational. Despite the relaxed tone, there is a lotof information packed in from Yasumoro’s decades ofexperience; and so whilst the reader can gain a lot in a
few a lines if they are reading carefully, I have a feeling
it would be easy to miss some of the nuance. Yasumoro
doesn’t always spell out specific design techniques anddoesn’t always explain the rationale behind his design
choices. This may be frustrating to serious students
of design but is in line with the traditional methodof teaching through demonstration and observation,with the expectation that you will find your own pathby following the form. And actually, it makes for a more
pleasant read. Finally, it should also be noted that someof the practical advice would be difficult to follow for
those living in the UK where Japanese materials (suchas volcanic soil, kawara roof tiles and fresh bamboo)
are not readily available. However, as the first line ofthis book is: ‘don’t follow this manual,’ I expect that
Yasumoro and Cali would be as pleased to see theiradvice ignored as they would be to see it followed.§

Umui: A Journey Across
Okinawa

photograph on the front cover is an Okinawan woman
in traditional dress leaning into a protuberant holyrock. She is standing with her eyes closed, deep inthought or prayer. This natural stone mass proudly
sits in a cove at a sacred utaki a place where the noro
(female shamans) come to pray.
From here, Brown makes his way to Kudaka,
the most sacred of the Okinawan islands. According
to legend this is the gateway to Niruyakanaya, theheavenly kingdom beyond the horizon. The shadowsand contrasts in the photo taken here draw the eye
towards this vanishing point where the sea blends withthe sky. The ocean looks settled and inviting as if it is
guiding the onlooker towards the home of the gods.
A wonderful example of Brown’s ability to take acontemporary picture that looks like it is one hundredyears old is the photo of the traditional Okinawan
lady on page 12. She is dressed to perform a sacreddance but she is sitting beside the trunk of a twisted
pine tree with flowers in her hair. Her face is composed
and a feather-like shadow, caused by a chemical stain,is escaping from her gentle hands as if she were
awakened by a celestial nymph guiding her towards anenlightened state. A similar smoky silhouette extends
from the conch shell horns blown by two local men in
the photo opposite. After this picture was developed,
there was another mysterious chemical stain that looks
like a dragon’s tail.

by Everett Kennedy Brown
Salone Fontana (2022)
ISBN-13: 978-4909860538
Review by Renae Lucas-Hall‘Umui is the soul of the Okinawan people. It is bornfrom the ocean, land and sky and nourished in theirmusic, dance and daily life.’ (P. 2)

Everett Kennedy Brown is an American photographic
artist, writer, and film producer and long term resident ofJapan. His work has been featured in The New York Times,
Le Monde, on CNN, NHK and is in permanent collectionsin Japan, Europe, and the United States. He has also
been awarded the Japanese Government’s Cultural
Affairs Agency Commissioner’s Award in recognition of
his creative activities and his book was nominated andshortlisted for the Tadahiko Hayashi Award.
He uses the wet-collodion process to capture
landscapes and cultural aspects of Japan. The collodion
wet plate process was invented in 1851 by an
Englishman, Frederick Scott Archer. It is a complicatedmethod of photography which uses a large format
camera on a tripod and a portable dark black room
tent. The exposures are long, meaning the camera lensstays open much longer than an instant and the subject
needs to pose perfectly still for several seconds or moreso as not to distort the outcome. Brown can only takeone photo at a time and he makes a glass negative onsite using a highly flammable liquid gel. The results are
extraordinary. He uses Japanese pottery and ink brushtechniques to add his own personal touches to theglass plates (cut at the end) to create fascinating images
which look like they were produced in a bygone era.
In this book, titled Umui, emphasis is on theunseen world that animates Okinawa. Brown’s first4‘If there is no umui, then beauty is empty... without umui,
all knowledge is contrived and meaningless.’ (p. 14)

Brown was impressed by the essence of the
Okinawan people. He would look deeply into their eyes
as he photographed them. He was always in search ofthat enigmatic umui quality only the Okinawan people
seem to truly understand.
‘Umui is often understood as “thoughts” but themeaning is closer to the prayers and emotions that
Issue 101 Volume 18 Number 1 (August 2023)

well up in the heart... The women had explained tome that when they go into prayer, they enter a kindof heightened awareness, not unlike the Aboriginal
Dreamtime, where they come into contact with theirancestors from the past and have glimpses of the
future.’ (p. 14 & 18).

The photographs of the five ladies on the beachin white robes on pages 21, 23 and 90 are marvellous.
It feels as though one is hiding behind a tree watchinga secret ritual not open to the public. They are in a
trance-like state, completely unaware of the present.
These photos capture the fine line between this world
and the spirit land.
The next photo of Brown’s friend in the sea isslightly different to all of the others. He accompanied
his Japanese companion to the southern end of theisland to a place called Yamakawa Utaki where thegoddess of creation, Amamikyo, arrived after her firstlanding at Kudaka Island. When Brown took a photo of
his friend in the shallows, he accidentally dropped theglass plate, smashing one part into small pieces. But
he decided to salvage the broken image. The cracks inthis photo are the reason it is unique and a wonderfulexample of the Japanese concept of mono no awareor the fragility of life. The resurrection of this piece issimilar to the way a potter uses kintsugi or golden
joinery to repair a broken ceramic. The philosophies
are the same. There is beauty in the broken. One mustembrace the transience in life, or wabi-sabi. After thatbathing ritual, the two men head into a dark forest to autaki where legend says Amamikyo set up temporary
residence. It is a place Brown felt an inordinate sense ofpeace and tranquillity and the true presence of umui.
History and culture are evident throughout thisbook. Brown explains on page 44 how the noro shaman
in Okinawa were considered superior and more
powerful than any military force. These noro used topray at an old castle called Katsuren-jo. The Okinawansbelieve the supremacy of the noro allowed them towelcome envoys here from other countries and partsof Japan with open arms, fine food, music, and dance.
Brown’s photo of the stairs leading up to this placeof worship is transcendental. The crack in the middle
suggests caution but the clouds above seem so alluring.
For Brown, Okinawan faces are cosmopolitan.
Through the centuries, people as far away as India,
Europe, and South-East Asia have made their way to
Okinawa and stayed. The face of the true Okinawan
is now a hybrid or combination of many lands. The
photo of the Okinawa man on page 51 is a blend ofvarious cultures with wise but amicable characteristics.
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Brown’s photographic journal is also a wonderfulcommentary on Japanese traditions. Like the restof Japan, the Obon festival is a yearly celebrationof the dead which takes place between August and
September. In Okinawa, dances are performed withmasks which are jovial and friendly, reminding theislanders of their ancestors. Brown’s photos of thesemasked performers on pages 62 and 63 are mysticaland enchanting.
Past traditions which have lapsed over time are
now being revived in Okinawa and it is encouraging to
see this photographer documenting this resurgencein cultural identification. Brown shows his appreciation
for young artisans who are creating new fabrics using
traditional banana fibre cloth. He also mentions andphotographs an entertainer known as Kyotaro who
dresses in outlandish clothes. He can be seen at their
festivals and funerals chanting Buddhist prayers. The
photo of Kyotaro on page 71 is utterly charming.
Brown has captured his infectious smile and twinklingeyes with an evolved sense of sincerity.
Brown’s glass plate images in this book leave a
profound impression of what it means to be Okinawan
and his text draws attention to the values and beliefs
that influence their lives. When he meets an oldpotter in the traditional pottery district of Yachimun in
downtown Naha, Brown is reminded of the Okinawanphrase “nuchi du takara” which tells us that life is more
important than material possessions. Brown’s photoof this potter drinking awamori, the local rice spirit,and sitting with his family on page 75 prompts us toappreciate life and to consider its brevity.
Brown’s final image on page 79 evokes feelingsof intimacy and a tender appreciation of nature. A rockwall in the shape of a love heart at a utaki at the southernend of the island appears like another gateway to theheavens. There is a little swirl of a chemical stain in the
top right-hand corner of the image which looks likethe gods are in the distance observing us but they’re
not too far away to touch our souls.
During his interview with Japanology Plus which
aired on NHK, Brown said ‘Japan for me is a long,ongoing and ever-deepening love affair. This country
has offered me so much beauty, so many wonderfulaesthetic experiences, and this journey is just forevercontinuing’. Brown’s photos are stunning, timeless,and ethereal. One can only hope his words ring true
so we can carry on our appreciation of his uniquephotographic process with more collections which
capture a country offering us so much in return.§
5Finger Boneby Takahashi Hirokitranslated by Nieda Takami
Honford Star (2023)
ISBN-13: 978-1739822590
Review by Laurence Green
1942, Papua New Guinea, and the balance of World War 2
in the East is on the turn. The Japanese have been forced
into a fighting retreat, and amidst this chaos, a nameless,wounded member of the Imperial army is left to languishin a field hospital. As those around him succumb one byone, the army doctor cuts off the index finger of theirhand, in preparation to send the bone back home to
Japan to the deceased’s loved ones. And thus, from thisgrim momento, Finger Bone finds its name.
Winning the Shincho Prize for New Writers in 2014,
before going on to win the esteemed Akutatagawa Prizein 2018, Takahashi Hiroki emerges in this slim novella as
an immensely promising talent within Japan’s current
literary generation, and is capably translated here by
Nieda Takami, who conveys the prose with an elegant
matter-of-factness that cuts to the heart of the novel’s
unwavering look at the futility of armed conflict.
Finger Bone mines a similar vein to muchapplauded classics of Japanese war fiction - Ooka
Shohei’s Fires on the Plain, in both its book and multiple
film incarnations, immediately springs to mind.
More broadly, the bleak cynicism and unrelenting
realism of Takahashi’s style also recalls All Quiet on
the Western Front, so recently brought to the fore of
public consciousness again in an Oscar-winning movie
treatment. In all these envisionings of war, the authorial
lens remains unerring in its ability to lock on to thebrutal realism of conflict, both literal and internal.
Finger Bone is a war novel, certainly, but it is also
a story of an individual man, and the lives of those thatpass fleetingly around him in the worst of all possible
circumstances. Takahashi’s skill is to present the realwith unflinching detail, but to offer just enough of ourunnamed narrator’s mind that we feel invested in a

Dragon Palaceby Kawakami Hiromi
translated by Ted Goossen
Stone Bridge Press (2023)
ISBN-13: 978-1737625353
Review by Cameron Bassindale
At the outset, I must confess to being a philistine when
it came to Kawakami Hiromi, before I read Dragon
6character that could have otherwise felt too abstract
to latch onto.
Much of this comes down to the tone of thepiece - there is a cynicism in the unrelenting bleaknessof it all, never overt, but always there just beneath thesurface. To question the war would be unthinkablefor these mere cogs in the Imperial machine, buteven as the novella moves towards its final inevitableconclusion, we are presented odd vignettes of quasisurreal weirdness that come to deliver the hardest
emotional punches. It’s there in the comparison ofmaggots to pieces of long-grain rice, the almost
microscopic anatomical analysis of an eyeball hanging
from a corpse - Finger Bone is a dark circus of torments,
and certainly not one for the squeamish reader.
For a war novel though, there is surprisingly little
actual ‘fighting’. The violence offered is instead of aquieter, more unsettled kind; the Allied soldiers remain
largely faceless, at a remove, replaced by the realantagonists of creeping disease, festering wounds andstarvation. Our narrator’s comrades depart from life each death bringing with it an end to short dialogues
that remind us that what we see here are only fractionsof an individual; culled in war, any vestige of a life
beyond the conflict lost beyond what they are able totell us in the time Takahashi allows them to speak to
us. They are merely puppets, both in the hands of theauthor, and the machinations of the Imperial machine.
Perhaps there is something to be found in theuniversality of the human condition in the face of war
that draws authors to it time and time again. In Finger
Bone’s closing pages, and in its riveting cover art, asoldier weeps - and it is indeed impossible not to be
moved by the unrelenting bleakness of it all. Tales of the
War in the East are countless, but Takahashi’s skill in his
take is in stripping back his prose to the very essence ofthe human condition, cleanly and clinically delivering
the descent of one man into mortal oblivion: what
remains of life itself - the soul, even - when submersed
into the full ugliness and pointlessness of war?§

Palace. As an author she wasn’t totally alien to me; I
had read one of her works, Strange Weather in Tokyo.
In that novel, Kawakami charts an unlikely romance
between a former student and teacher in the bustling
metropolis. It is one of several of Kawakami’s works
to be translated into English, being published almost
exactly 10 years ago. I found it well-written, charming,light but it didn’t quite satisfy my thirst. Thirst for what,
exactly, I can’t say. Being accustomed to the darker andIssue 101 Volume 18 Number 1 (August 2023)

more cerebral aspects of Japanese fiction, I enjoyedreading Kawakami’s smash-hit bestseller but had little
desire to read her other works.
So then, when presented the opportunity toreview Dragon Palace, I immediately began to imagine
what kind of book it would be; tender and full of
personal connection, love and loss. Well, I am pleased
to report my expectations were thoroughly subverted.
Dragon Palace is a collection of eight short stories, set
in wildly different times and settings, which upon firstreading have no discernible thread running throughthem save seemingly for the authors desire to unsettle
and unnerve. As with any collection of short stories
there are natural peaks and troughs, hits and misses,
but overall Dragon Palace moves swiftly through one
satisfyingly strange story to the next.
The first story starts on a timeless beach, ournameless narrator explaining in agonising detail theminutiae of his depressing life. His sorry situation istaken as a matter of course; without exception, thenarrators in Dragon Palace have at the very least acore of loneliness and misunderstanding of the world
they’ve been placed in. Then, this character meets ashape-shifting octopus. If reading that felt abrupt,
then you will have some idea of how Kawakami melds
the mundane and banal with the surreal and fantastic,
to good effect.
This primes the reader for the second story,
Dragon Palace, the most challenging of the volume.
The translator, Ted Goossen, deserves a lot of credit
for this story in particular. Phrases like “Oto-sama. We
implore you. Please quell your anger” really capture thesense of Japanese folklore that Kawakami was aimingfor. Without giving too much away, this particulartale concerns the sex-crazed ghost of the narrator’sancestor regaling her with bemusing and deeply
depressing tales. While this may seem absurd, this is
one of the most naturalistic stories in the book, in thesense that it doesn’t feature form-shifting animals, as
most of the other stories do.
More prudish readers may find Kawakami’s
preoccupation with sex in all its forms a little off-

putting, and truthfully this novel is not for them.
Coupled with Kawakami’s insistence on inserting
animals into human skin, some stories are really not
for the faint of heart. The following story, reminiscentof Strange Weather in Tokyo, explores ideas of sex,
attraction and love between an elderly man-turnedfox and a much younger woman. As the story goes on,
the sexual overtures only become more explicit andoff-putting to some.
This too may not be the book for readers looking
for neat, satisfying conclusions. Most of the narratives
throughout Dragon Palace start and end quite abruptly,
with a melange of fantastically strange scenarios inbetween. The more cynical reader with expectationsof a more traditional narrative structure may feel a little
short-changed with this book; Kawakami opts instead
for narrow slices-of-life which admittedly is not foreveryone. Those looking for a collection of short stories
with a (semi) coherent narrative and a quintessential
Japanese-ness might instead prefer Revenge by
Kawakami’s fellow female literary behemoth, Ogawa
Yoko.
While this review has spent a fair deal of time
describing those who this book isn’t for, that is in noway to say that Dragon Palace isn’t worthy of yourtime. Quite the opposite, this translation will be ofinterest to anyone with a desire to read something
exceedingly unique. Dragon Palace is a challenging,dark, unsettling read; this has been well established.
But it is also surprisingly deep and introspective. Whaton the first reading may seem contrived to shock thereader will on the second reading touch on essential
human questions: “what is it to desire something”,“what is it to be human?”
The final stories, ‘Shimazaki’ and ‘Sea Horse’, are amost satisfying pay-off for slogging through some ofthe earlier stories. Kawakami comes into her stride by
the end of the collection, and finally strikes a balance
which will resonate with the thoughtful reader. If you
can dig through the rough patches of Dragon Palace,
you will surely find what you are looking for within it.§

Yoshioka Nao Live Performance

Even then, The Jazz Cafe in Camden is the place for live
music, seven nights a week. On 1st July, jazz enthusiasts
gathered to witness a highly anticipated performanceby the talented Yoshioka Nao. Known for her soulful
voice and captivating stage presence, Yoshioka has
been making waves in the music industry, recently
releasing her latest single “Stuck Wit U”.

at The Jazz Cafe
Saturday 1 July 2023
Review by Jasmin Lau
London is a city that suffers from a wonderful problem:
too much choice - festivals and concerts abound,competing with the latest theatres, eateries and more.
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7

The Jazz Cafe itself set the perfect backdrop forthe night, with its intimate layout and cosy ambiance,
creating an atmosphere that was both inviting andconducive to an enjoyable musical experience. With
both standing space in front of the stage and dual
layered balcony seating on the next floor, all guests
were able to experience the music at its best, creating
an intimate connection between artist and audience.
Before diving into Yoshioka’s performance, it’sworth mentioning the opening act by Allysha Joy.
Joy’s soul-infused melodies instantly captivated theaudience, warming us admirably for the next act. Hersmooth vocals, accompanied by a saxophonist, set thestage for what was to come. Her mellow energy andskill as a performer were evident, and it served as an
excellent introduction to the night’s main event.
As Yoshioka entered the stage, the crowd erupted
with excitement, eager to experience her unique brandof music. Technical issues meant that there were a few
moments of confused silence before the performance
began, and the audience happily cheered again as Nao
restarted, swooping off then sailing stylishly onstage.
The technical issues continued during the earlypart of the performance, causing some hiccups in
the otherwise seamless production. Once resolved,
Yoshioka truly shone. Her vibrant and charismaticstage presence breathed life into each song, making
it hard for anyone in the audience to remain still. Nao’s
connection with her music and lyrics was evident,

as she effortlessly conveyed emotions through her
powerful vocals. Her ability to switch between soulful
ballads and up-tempo tracks was a testament to her
versatility as an artist.
What truly set Yoshioka’s performance apart washer embodiment of the music and engagement with
her lively audience. She moved and grooved with such
fluidity, captivating the audience with her energetic
dance moves. It was clear that she was not merely
performing but fully immersing herself in the music,
creating an infectious energy that spread throughout
the venue. Her enthusiasm was contagious, and thecrowd responded in kind, dancing and swaying to therhythm of her soulful tunes.
She continued to engage the audience throughthe night, dividing up sopranos and bass singers tocreate a funky singalong and get everyone grooving
to the same beat. Between most songs, she chatted
to the crowd, explaining her inspiration and intent
behind the lyrics. A recurring theme was reaching out
to those who feel alone and giving people confidence
to do things their own way. Her band also all had time
to shine during individual solos, giving the audiencean opportunity to appreciate each element of theperformance.
One of the highlights of the evening was Nao’s
rendition of her new single, “Stuck Wit U”, bringing on
special guests Blue Love Beats. The song showcased
her vocal range and control, leaving the audience
spellbound. The accompanying band provided asolid foundation, effortlessly complementing Nao’s
vocals with their tight instrumentals. The chemistry
between Nao and her band members was palpable,enhancing the overall musical experience and leaving
the audience yearning for more.
As the night drew to a close, the atmospherein The Jazz Cafe was electric. Yoshioka Nao had
successfully delivered a performance that showcased
her immense talent and left a lasting impression on
those in attendance. Despite the initial technicalhiccups, her vibrant and embodied performance,
combined with the venue’s cozy layout, made for an
unforgettable night of soulful music.
In conclusion, Yoshioka Nao’s latest performanceat The Jazz Cafe had its ups and downs. The venue
itself provided an ideal setting, with its intimate layout
and warm acoustics. Nao’s active and embodied
performance, coupled with her powerful vocals,brought the music to life and left a lasting impact on
the audience. Yoshioka’s performance at The Jazz Cafe
served as a testament to her musical prowess.§