Returning to Sydney

RIVERSIDE THEATRES PRESENTS
A PERFORMANCE 4A PRODUCTION

YASUKICHI MURAKAMI –  THROUGH A DISTANT LENS                              by Mayu Kanamori

16 March – 19 March 2016

Lennox Theatre, Riverside Theatres

Corner Church and Market Streets
Parramatta NSW

Arisa Yura in Yasukichi Murakami - Through a Distant Lens. Photo by Mayu Kanamori

Arisa Yura in Yasukichi Murakami – Through a Distant Lens. Photo by Mayu Kanamori

This is a forgotten story of the Japanese in Australia.

“We take so many photographs. How do we know which ones are important? Which ones matter?”

Inspired by the true story of Yasukichi Murakami, a Japanese-Australian photographer, entrepreneur and inventor who was a remarkable character in northern Australia in the early 1900s, this multi-disciplinary work is a contemporary framing of Murakami’s life through the lens of modern day Japanese-Australian theatre maker Mayu Kanamori.

Along the way she uncovers a fascinating story of unlikely friendships, thwarted ambition and love. The play stirs our collective amnesia about the history of the Japanese in Australia.

Yasukichi Murakami: Through a Distant Lens is a meditation on love, immortality, and in a digital age where cameras proliferate, the nature of photography. Combining live action with photographic projections, video, original music and soundscape, it is an immersive and poetic production, which adds significantly to the slim volume of Japanese Australian work for the stage.

This production will be accompanied by a photo exhibition in the foyer.

A compelling and always absorbing work. Highly recommended.”– Stage Noise

Dates & Times:
Wednesday 16 March 7:30pm
Thursday 17 March 12pm (Plus Q&A) & 7:30pm
Friday 18 March 7:30pm
Saturday 19 March 2:15pm & 7:30pm

Writer/ Original Concept
Mayu Kanamori

Director
Malcolm Blaylock

Dramaturge
Jane Bodie

Composer/ Sound Designer/ Musician
Terumi Narushima

Visual Design
Mic Gruchy

Lighting Design
Benjamin Brockman

Producer
Annette Shun Wah, Performance 4a

With
Arisa Yura
Kuni Hashimoto
Yumi Umiumare (on video)

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Sydney season at Stables Theatre with the Griffin Theatre Company

Thank you to everyone who came to Yasukichi Murakami – Through a Distant Lens at the Stables Theatre / Griffin Theatre Company and produced by Performance 4a.

Thank you also to everyone at Griffin Theatre Company for having us as part of your 2015 season. It was great to work with you!

Here is a short excerpt from our season!

Video by Michael Park

Written by Mayu Kanamori
Directed by Malcolm Blaylock
Music and sound design by Terumi Narushima
Dramaturgy by Jane Bodie
Visual Design by Mic Gruchy
Lighting Design by Luiz Pampolha
Dramturgic Consultant Yuji Sone
Performed by Arisa Yura & Kuni Hashimoto with Yumi Umiumare
Produced by Annette Shun Wah, Performance 4a

 

 

OzAsia Festival – Adelaide

9 & 10 September 2014 7:30pm Space Theatre, Adelaide Festival Centre

My date on Yasukichi Murakami – Through a Distant Lens was beautiful Jacinta Thompson, former Artistic Director of OzAsia Festival. We met in the Space Theatre foyer with a heartfelt embrace. Many Asian Australian artists have developed their careers because of Jacinta’s vision and long-term curatorial commitment in nurturing the growth of an artist like myself. OzAsia Festival not only brings to Australian audiences art from Asia, but has actively invested in the Asian stories within Australia. The importance of their longer term curatorial vision must be congratulated and held in reverence.

Working with the professional people and facility at the Adelaide Festival Centre along with the excellent OzAsia team with current Artistic Director Joe Mitchell, our show excelled, bringing in many favourable reviews. We were blessed with great publicists throughout our Darwin, Broome and Adelaide tours, and have received much publicity, which is of course excellent for the show itself, but in the wider sense, we have been able to add to the legacy of Yasukichi Murakami and to rekindle the memory of the pre war Japanese contribution to Australia.

Reviews

Realtime: 8th OzAsia Festival 2014 Culture’s haunted houses by Ben Brooker

Realtime: 2014 Darwin Festival, Cultural syntheses: north-south, east-west by Nicola Fearn

BWW Review: OzAsia Festival 2014; Yasukichi Murakami – Through a Distant Lens Captivates and Informs by Barry Lenny 

The Clothesline: Yasukichi Murakami – Through a Distant Lens: An Enchanting Photographic Journey Betwden Past and Present by Michael Coghlan

The Advertiser: OzAsia migration lay Through a Distant Lens puts Japan in focus by Louise Nunn

In Daily: Murakami: a life lost and rediscovered by Gregg Elliott

Glamadelaide: OzAsia Theatre Review: Yasukichi Murakami – Through a Distant Lens

Selected Media Links

ABC Radio National Arts & Books Daily: Yasukichi Murakami: the photographer who captured Darwin by Georgia Moodie. Presented by Michael Cathcart

ABC Radio National Music Show: Yasukichi Murakami. Presented by Andrew Ford. Produced by Maureen Cooney / Jennifer Mills

ABC Radio National Drive: A Japanese-Australian photographer in pre-WW2 Darwin. Presented by Waleed Aly. Produced by Hélène Hofman

ABC News: Japanese photographer, pearling pioneer Yasukichi Murakami honoured in Broome

-Posted by Mayu Kanamori

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Darwin Festival

19  August 2014 8:15pm & 20 August 2014 6pm & 8:15pm Brown’s Mart Theatre

Sitting at the very back of the packed-out Brown’s Mart Theatre on the world premier of Yasukichi Murakami – Through a Distant Lens, I thought I could hear every murmur, each gasp, laughter and finally, sniffle by the group of dozen Murakami family members who sat in the front row.

In making this work, listening became the most important thing to do. To listen carefully to the voice of Yasukichi Murakami’s spirit, the voices of the creative collaborators, and to my own inner voice of truth. This active listening required more effort than to speak out loud. For many years I had thought it a vital process of becoming an artist to express, and out loudly, but through this project,  I have learned expressive less, more receptive, let go, and allow the creative to emerge as it naturally flowed outwards.

Although those Murakami family members who had received a copy of the script gave their blessing, I was still very worried whether the family members would like how their ancestor was portrayed on stage. To my relief, when we met at the theatre forecourt after the show, it was obvious that they were pleased with the results.

Phew.

Cast and crew wht Murakami family members after the premier of Yasukichi Murakami Through a Distant Lens photo by Greg Aitkin

Cast and crew with Murakami family members after the premier of Yasukichi Murakami Through a Distant Lens photo by Greg Aitkin. Front row L to R – Veronica McLennan, Arisa Yura, Mayu Kanamori, Julie Murakami, Jacqueline Murakami, Annette Shun Wah, David Murakami, Terumi Narushima. Back row L to R -Malcolm Blaylock, Calvin Murakami, Maius Lai, Kevin Murakami, Peter Murakami, Yvonne Wood, Benjamin Brockman.

It was important to premier this work as part of Darwin Festival, Darwin’s most prestigious and recognised art festival, because this is where Yasukichi Murakami and his family were arrested as an enemy alien and it is where most of his descendants live today. Because of  this, Darwin is where the honour of his name and work need to be remembered, acknowledged and celebrated the most.

– Posted by Mayu Kanamori

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References: Yasukichi Murakami – Through a Distant Lens

Yasukichi Murakami

Bain, M. (1982). Full Fathom Five. 1st ed. Perth: Artlook Books.

Beaumont, J., O’Brien, I. and Trinca, M. (2008). Under suspicion. 1st ed. Canberra, A.C.T.: National Museum of Australia Press.

Caudle, R. (1979). Caudle, Rex Oral History Transcript. [Manuscript] NTRS 226 TS  26. 1979. Northern Territory Archives Service, Darwin, NT, Australia.

City of Darwin, (2001). A Secondary School Resource on the Bombing of Darwin. Darwin: Federation Frontline, pp.54 – 55.

Hamaguchi, P. (2013). Interview with Pearl Hamaguchi. Broome.

Jones, N. (2002). Number Two Home: A story of Japanese Pioneers in Australia 1st ed. Fremantle, W.A.: Fremantle Arts Centre Press.

Kaino, L. (2011). ˜Broome culture” and its historical links to the Japanese in the pearling industry. Continuum, 25(4), pp.479–490.

Kaino, L. (2013). On-Board train Australia: Some contest of the works of Kanamori and Murakami. Zeistschrift fur Australierstudien, (Issue 27), pp.pp 105 – 125.

Kilgariff, F. and Carment, D. et al (2008). MURAKAMI, YASUKICHI (1880-1944). In: Northern Territory Dictionary of Biographies, 2nd ed. Darwin: Charles Darwin University Press.

Lance, K. (2004). Redbill: From Pearls to Peace – Life in Times of A Remarkable Lugger 1st ed. North Fremantle: Fremantle Arts Centre Press.

Minami, Y. (2013). Interview with Yasuko Pearl Murakami Minami. Tanami.

Murakami Shigeno Theresa (and Yasukichi). (2014). [Manuscripts, letters, historical documents. Electronic document] A367 – c68988 National Archives of Australia. Canberra.

Murakami, J. (Dec 2011, Aug 2012 and Feb 2013). Interviews with Joseph Murakami. Tsunashima.

Murakami, J. (April 2012 and April 2013). Interviews with Julie Murakami. Darwin.

Murakami, K. (1979). Kathleen Murakami Oral History Transcript. [Manuscript] NTRS 226 TS  95. Northern Territory Archives Service. Darwin.

Murakami, P. (1979). Peter Murakami Oral History Transcript. [Manuscript] NTRS 226 TS 96 Northern Territory Archives Service. Darwin.

Murakami, Y. (1926). Application for Letters Patent for an invention, Improved diving dress. [Manuscript and diagrams] A627 – 4150944 National Archives of Australia. Canberra.

Murakami, Y. (1926). Application for Letters Patent for an invention, Improved diving dress. [Documents and diagrams. Electronic document] A267 – 1525/1926 National Archives of Australia , Canberra.

Murakami, Y. (1926). Application for Letters Patent for an invention, Improvements in diving dress. [Manuscript and diagrams] A627 – 4215206  National Archives of Australia. Canberra.

Murakami, Y. (1926-7). Application for Letters Patent for an invention, Improved diving dress [Manuscript and diagrams] A627 – 4216044 National Archives of Australia. Canberra.

Murakami, Y. (1927). Application for Letters Patent for an invention, Improvements in and relating to diving dresses. [Manuscript and diagrams] A627 – 4215757 National Archives of Australia. Canberra.

Murakami, Y. (circa 1988 – 1944). Handwritten text on back of original photographic prints, various. [Photographic prints, back].

Nagata, Y. (1996). Unwanted Aliens: Japanese Internment in Australia During WWII. 1st ed. St. Lucia, Qld.: University of Queensland Press.

No 10 of 1918, Yasukichi Murakami [bankruptcy]. (1918). [Manuscripts, transcripts, letters, ledgers. Electronic document] PP92/1 – 12038022 Australian National Archives . Perth.

Norman, J. (May 2013). Interview with John Norman. Broome.

Prisoner of War/Internee: Murakami, Yasukichi; Date of birth – 19 December 1880; Nationality – Japanese. (n.d.). [Electronic document] MP1103/1 DJ18100 National Archives of Australia. Canberra.

Prisoner of War/Internee; Murakami, Yasukichi; Year of birth – 1880; Nationality – Japanese. (n.d.).[Electronic document] MP1103/2 DJ18100 National Archives of Australia. Canberra.

Sack, E. (1979). Eve Sack Oral History Transcript. [Manuscript] NTRS 226 TS 114 Northern Territory Archives Service. Darwin.

Scott, T. (1979). Thomas Connor Scott Oral History Transcript. [Manuscript] NTRS 226 TS 616 Northern Territory Archives Service. Darwin.

Shigematsu, S. (2007). Research Note on Pearling and Japanese Contribution to Local Society in early 20th century Australia. The Otemon Journal of Australian Studies, 33, pp.91- 100

Sissons, D. (2014). Murakami, Yasukichi (1880 – 1944). In: Australian Dictionary of Biographies, 18th ed. [online] Carlton: Melbourne University Press.

Photography

Barthes, R. (1981). Camera Lucida. 1st ed. New York: Hill and Wang.

McAuley, G. (2008). Photography and Live Performance: Introduction. Still / Moving: Photography and Live Performance, About Performance, No 8, pp.7-13.

Benjamin, Walter (1936). 1999.  The Work of Art in the Age of Mechanical Reproduction. Illuminations. London: Random House

Nietzsche, F. (1872).  1995. The Birth of Tragedy. New York: Dover Publications.

Ritchin, F. (2009). After Photography. 1st ed. New York: W.W. Norton.

Sontag, S. (1977). On Photography. 1979. Middlesex: Penguin Books.

Photographs used in the production of Yasukichi Murakami – Through a Distant Lens are a courtesy of:

Australian War Memorial – ID 052384 & 052460 Photo by James Tait, Tatura Victoria

Bielby, Margo Photographic Archive

Broome Historical Society of Joseph Kisaburo Murakami Photographic Archives

Darwin Rondalla Archives

Gruchy, Mic Photography and Archives

Hamaguchi, Pearl Family Archives

Hang, Ted and Eunice Family Archives

Jones, Noreen Photographic Collection of Mise & Yamamoto Photographic Archives

Kanamori, Mayu Photography and Archives

Lance, Kate Photographic Collection

Murakami, Joseph Kisaburo Family Archives

Murakami, Julie Family Archives

Murakami, Yasuko Pearl Family Archives

National Archives of Australia –  A446  – 7648980 Kathleen Murakami

National Museum of Australia –  Book cover of Under Suspicion: Citizenship and Internment in Australia during the Second World War,  ISBN 9781876944605 

Northern Territory Library – Commemoration PH0200/0380 Mayse Young Collection; Cavenagh Street in the 1930’s / V. Fletcher, Harold Snell Collection; Bi-plane PH0282/0039 Unknown Collection; Rally PH0283/0012 Bill Allcorn Collection; Group PH0323/0014 D. Smith Collection; Float in street parade, Darwin circa late 1930s PH0340/0038 Jarvis Collection; Old Town Hall on Smith Street PH0386/0150 Bill Littlejohn Collection; Afternoon drink PH0444/0006 Bill & Betty Eacott Collection; Couple PH0375/0008 Marella Collection; The Residency PH0223/0005 J. Towers Collection; Serviceman PH0285/0053 Photo by Y. Murakami, Frank Blackwell Collection; and Divers on pearling lugger D36 PH0238/0174 Peter Spillett Collection

Other photographs from Northern Territory Library duplicate and supplied from Murakami family archives directly – Five men and a lady sitting in a car PH0096/0026 Fay Kilgariff Collection; Dampier Hotel PH0096/0024 Fay Kilgariff Collection; Mrs Theresa Murakami and Mr Yasukichi Murakami PH0096/0020 Fay Kilgariff Collection; Family PH0096/0019 Fay Kilgariff Collection; Man sitting in drivers seat of a car PH0096/0025 Fay Kilgariff Collection;  and A Japanese woman in Japanese dress PH0096/0017 Fay Kilgariff Collection.

Tsuda, Mutsumi Photography, Photographic Collection and Archives

Puertollano / Masuda, Cauline Family Archives

Sisters of St John of God Photographic Collection of Jones, Noreen Photographic Collection of Mise & Yamamoto Photographic Archives

All appropriate documents and photographs found for the research pertaining to Yasukichi Murakami – Through a Distant Lens, used or other wise in the final production have been donated to Julie Murakami (Yasukichi’s great grand daughter / Murakami family historian) and Broome Historical Society / Museum.

– Posted by Mayu Kanamori

Hearing the voice of creative development

Kunihiko Hashimoto and Arisa Yura during creative development of Murakami. Photo by Miho Watanabe

Kunihiko Hashimoto and Arisa Yura during creative development of Murakami. Photo by Miho Watanabe

 

The 3-week creative development of my Murakami project at Macquarie University’s Drama Studio began with director Malcolm Blaylock, producer Annette Shun Wah / Performance 4a, dramaturg Jane Bodie, dramaturgic consultant Dr Yuji Sone, production manager Kevin Ng, actors Kunihiko Hashimoto, Yumi Umiumare, Arisa Yura and myself, reading my manuscript matched with photographs, which somehow just passed as a “theatre script”, only because of Jane’s extensive doctoring in the 8 weeks prior.

As with my earlier performance works, how I manage to put forth an idea in blind faith, and then after doing the necessary work in small steps over a time,  finding myself in a creative space full of extremely talented and experienced performance makers is truly humbling, uplifting, and in many ways, mind-boggling. Nevertheless, thanks to my collaborators, my research into Yasukichi Murakami’s life and my search for his missing photographs was on its way to becoming a performance work.

In nervousness, I once again held conversations in my mind with Murakami’s ghost.

Have I done the right thing?  Have I made the right decisions? Do you think this is working? Sometimes I lack in clarity if these questions should end with “for you”, “for me”, “for the work itself” or “for the wider good, ” and if the difference in those question endings change  the question and its answers.

Some say I am becoming mad, whilst others say I am lacking in intuition, but  Murakami’s ghost never seems to answer me immediately. And when I think I have heard his voice, I am often unsure if I heard him correctly. As at first hearing, it is difficult to tell whether I am hearing his voice, what I think his voice might be, or that his voice is heard through the filter of my own ego, or a voice from my higher self, pretending I was someone I am not quite ready to become, but wished I was, or simply the voices of others or perhaps other ghosts. So ok,  I do sound mad… but creative development, it was.

The immediate reaction of my collaborators to my “script” appeared positive. They liked it, or so I thought, which made me relax a little. On the second reading of the “script”, however many differing opinions began to surface. Some were structural, others to do with different layers of understanding of the text, material and methods. And strong those opinions were. One thing we all agreed upon was that it was important to tell the story of Yasukichi Murakami.

Yumi Umiumare during creative development of Murakami. Photo by Miho Watanabe

Yumi Umiumare during creative development of Murakami. Photo by Miho Watanabe

As we exchanged ideas and debated, the written words became spoken words, ghosts found their embodiments, images projected, and by the time composer and sound designer Terumi Narushima joined us in the second week, the “script” had gone through many changes, including the inevitable and often welcome changing back, like a dance moving to and fro between rawness and refinement, creative and receptive, intuition and understanding.

On the last week, we invited a small group of people to a work-in-progress showing.  As pathetic as this sounds, I cried a lot during this week. I was emotional, partly because of fatigue, but mostly because there was something so very moving about working with a group of talented artists who were able to take what I had grappled with for the past 3 years, create and put into shape a work which was shown to potential presenters and partners.

Yasukichi Murakami’s story is beginning to take shape. His voice is slowly being heard through a collective voice and listening of those who endeavour to hear him.

Terumi Narushima during creative development of Murakami. Photo by Mayu Kanamori

Terumi Narushima during creative development of Murakami. Photo by Mayu Kanamori

 

 

 

 

 

 

 

 

 

 

 

-Posted by Mayu Kanamori