[Event Report] “BENTEN 2 Art Night Kabukicho” On-Site Report

From November 1 to 3, 2025, “BENTEN 2 Art Night Kabukicho” is taking place — a three-night art festival curated by Chim↑Pom from Smappa!Group.
Set in Kabukicho, known as the largest entertainment district in the East, the event unfolds across multiple venues throughout the neighborhood, where “something” is happening simultaneously at every corner.

 So, what exactly is going on in Kabukicho?

 With two days left before closing, here’s a real-time report from the first night.

“Ushiro-san, he’s on the second floor right now!”

I entered the venue at exactly 3:00 p.m.
Since I had already communicated with the staff beforehand for a pre-event interview, I greeted them briefly and went straight into the Ojo Building.
There was a lot to do today — as a rookie writer, I was determined to gather as much material as possible.

Just as I was about to explore from the basement to the fifth floor, I received a message from the staff:

“Ushiro-san, he’s on the second floor right now!”

Could you give a quick message for the visitors?

Ushiro : There’s always something happening somewhere, so please check the timetable carefully and enjoy exploring.
I’m in charge of the ‘Situation Theater’ on the second floor today. Around 4 p.m., there will be performances, singing, and various acts by different performers. It’s a very performative space, so please come and take a look.

“Katsuben” — Outshining the Latest Technology

Next, I headed to the 5th floor to see the “Katsubenten Film Festival.”
To be honest, it was my first encounter with katsuben — and it was mind-blowing.

In the history of Japanese cinema, the first films were shown domestically in 1896. Since these were silent films, “benshi” (live narrators) played an essential role in explaining the story to the audience.

Among them, Yata Aso, who became the first benshi to receive the Minister of Education Award in 1998, performed “Ukiyo-e Katsuben” and “Chikemuri Kojinyama.”
His powerful, dynamic voice and expressive gestures filled the room with energy.
The moments of complete silence in between added a tense, captivating rhythm that drew the audience deeper into the performance.

3D, 4DX, IMAX…
As modern technology continues to push the boundaries of immersive cinema, one can’t help but wonder — can anything truly surpass the intensity of a live performance shared in the same space?

How do you feel about participating in “BENTEN”?

Yata Aso : I’m deeply moved by this amazing venue (Ojo Building). It’s like stepping right back into Shinjuku as it was 40 or 50 years ago. The fact that it’s still here — that’s a miracle. It brings back so many memories from when we used to hang out here as young men. This place really makes us feel young again.

I noticed you incorporated rock music into your performance, which was surprising.

Yata Aso : Other benshi might scold me for that — saying, ‘That’s not how it’s supposed to be!’
But the audience lives in this era, not the past.
To make silent films feel thrilling and alive today, I think that kind of freedom is essential.
For any art form to survive, it has to evolve and adapt to its time. That’s my philosophy — always finding new ways to bring joy to today’s audience.

Any message for the younger generation?

Yata Aso : Always stay genuine and alive. I’ve lived my life that way and will continue to do so.
There’s no need to hold back or fade quietly into the background as you age.
Live wildly and naturally — places like Shinjuku will always welcome that kind of spirit.

Performing “Katsuben” in English for a Samurai Film

At 6:30 p.m., the performance took an unexpected turn — “katsuben” in English, performed by Koyata Aso, Yata’s daughter, who debuted as a benshi at age 10.

Was it difficult performing in English?

Koyata Aso : Especially with Japanese chanbara (samurai) films, I try to preserve the unique rhythm and intonation of traditional katsuben even in English — that’s the hardest part.
Conversely, when performing for foreign films like ‘The Adventurer’ by Charlie Chaplin, the actors are already speaking in their native English, so their energy naturally transfers through the performance. It’s fascinating — I can feel and match their emotions directly.

A Visitor from Spain

During the performance, I happened to sit next to a man from Spain.
He kindly answered my questions through my AI translator — I regret not catching his name, but I’d like to thank him here.

Have you ever seen katsuben before?

：Never. It was an amazing experience.
The performer could play many voices — old women, men — switching so seamlessly.
She brought tremendous value and emotion to the film.
Unlike 3D movies, here you can actually see how people react emotionally to the story being told aloud.
It’s like listening to a book being read out loud — I really loved that.

What brought you to ‘BENTEN 2 Art Night Kabukicho’?

： I follow some of the participating artists on Instagram, and their posts intrigued me, so I decided to come.

And how was the event overall?

： Honestly, it’s one of the best art events I’ve ever been to.
It’s fascinating how it spreads throughout Shinjuku and Kabukicho — you can feel the history and atmosphere of the city. Each room and building has its own charm. I really loved it.

What do you think of Japanese art?

： That’s a hard question! I think Japanese art is unique — delicate yet wild, refined yet emotional.
There’s an incredible attention to detail and craftsmanship.
It’s subtle and sensitive but also daring. I’ve been fascinated by Japanese art since I was a child. Truly, I’m very grateful for it.

“Thank you very much!!! Have a nice day!”

We shook hands and parted ways at the entrance of the Ojo Building.

Keeping the “Red Tent” Spirit of Karagumi Alive — with New Freedom of Movement

Let’s rewind the timeline.

 Right after watching Yata Aso’s “Katsubenten Film Festival”, I headed back to the second floor where Ushiro-san was earlier — just in time to catch the tail end of Karagumi’s “Situation Theater.”

The first show, “Love and Futon,” featured a dramatic stage performance.
The following act, “Singing the Words of Juro Kara,” blended guitar, cello, and the late playwright’s poetic words in mesmerizing harmony.

One hallmark of Karagumi’s productions is the “red tent” style, where audiences sit close together on the floor like at a picnic — no fixed seating.
Although there was no tent this time, the audience sat on mats directly on the floor, preserving that intimate atmosphere.

Actor Yuki Fukumoto, who performed in both shows, said :
“Compared to our usual Karagumi performances, the audience here was different — and the freedom of people coming and going felt refreshing.”

Together with cellist Makiko Sato, who played in “Singing the Words of Juro Kara,” I spoke with them near the Ojo Building entrance.

Fukumoto : It was unusual but exciting to see people freely entering and leaving during the performance.
Even if they didn’t catch everything, I hope they found some beauty in the rhythm or poetry of Juro Kara’s words — something that lingers.

How was it performing with live narration?

Sato : Even when I play normally, I treat my instrument like my own voice — blending it with the words.
This time too, I responded to the actors’ emotions and adjusted the cello’s rhythm and pitch accordingly.

So it was like a live session?

Sato : Exactly. I want to keep doing performances that are spontaneous, alive, and impossible to recreate — with fascinating collaborators.

Coming Next:
In the next installment, we’ll feature Ellie from Chim↑Pom from Smappa!Group and Bokunoh .
→ To be continued