Review by Hong Nguyen
‘Ura Matsuri’ delivered its joyful promise at the Domino Club in Leeds. It wasn’t just a cabaret, but a masterclass in DIY performance. The tiny stage, situated in the basement of a barbershop, transformed with each of the five distinct acts showcasing music, storytelling and comedy. However, each act cohesively flowed from one to another, with each seeming to say: prepare to be surprised, prepare for the unexpected. Japan-A-Gran – the compere for the evening – made this pronouncement from the get-go. Dressed like an aerobics instructor from the 80s, in neon pink leggings and neon yellow leg warmers, she engaged the queue of guests in the dreary, lit arcade. The Yokoleles, three members who were all named Yoko and dressed very smartly, opened the set with soothing ukelele melodies. The office worker aesthetic – if intentional – was a small stroke of genius. I felt like I was sharing a moment of escape from the drudgery of corporate life. Their set embraced me into the evening.
The following two acts were a true gift, a sharing of ancient Japanese artistic traditions of Rakugo storytelling and folk music. Tomoko Komura, who sat on a low stool, commanded the stage, immersing the audience into a mystical world where the Tale of the old Tubmaster took place. I have since learned that Rakugo is an art form dominated by men, which just makes Komura’s performance even cooler. Folk singer Akari Mochizuki and shamisen player Hibiki Ichikawa delivered a truly special folk performance, a rarity to see even in Japan. Mochizuki praised Ichikawa for being the only person qualified in Europe to teach the Shamisen and we were treated to a piece he composed especially for the Leeds evening. Mochizuki was equally talented, her powerful voice carried the stories of Japan’s cultural and geographical history. She also invited the audience to sing along, which was great fun. It reminded me of old Vietnamese folk songs I listened to growing up, which evoked the stories of farmers and the land.
What came next was my personal favourite performance. Runxuan Yang’s ‘May Kway’ was a brilliant, darkly funny visual play of horror to distort the Asian mystique and exoticisation of Asian women. I imagined this was Suzy Wong’s ghost, returning with a sharp bite. This felt like a wonderful “fuck you” to all the times I have felt this as an Asian woman living in the UK. I immediately looked to the other Asian women in the audience and felt solidarity. The headline act brought all the performers together, who joined as band members for Frank Chickens. A troupe of mostly women weaved through the crowd, clucking like chickens and dressed in silver. Their pop punk songs were catchy parodies of how immigrant women are perceived and I have never seen anything like it before. In between songs, artist Kazuko Hohki gave short comedic skits, making the audience laugh with her dry, self-deprecating humour: “thank you for coming… and for staying”. Her deeply clever take on English culture and immigration, as a Tottenham resident from Japan, hit important political notes and was also extremely witty. Ura Matsuri ruptured the pervasive, hateful narratives on immigrants – bursting on the scene on a cold, dark night with energy and humour. They reminded me that immigrant culture, one built on survival, is joyful, strong, exuberant and generous. Thank you for coming to Leeds, we are very lucky to have you here.
