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A Glimpse of Kabuki in Manila: Meeting Japan’s Nakamura Kotaro VI
When traveling to Japan and eager to learn about its vast cultural heritage, one experience that often makes it to the bucket list is watching a live kabuki performance. Known for its dramatic flair, striking costumes, and stylized acting, kabuki is a traditional Japanese theatrical art form that continues to mesmerize audiences even after centuries.
But with no immediate plans of going back to Japan anytime soon, I didn’t expect to see kabuki up close again. So when an invitation landed in my inbox to meet a kabuki actor right here in Manila, I immediately said yes.
Not only did we get a glimpse of his performance, we also had the rare chance to get to know the artist behind the stage makeup.
Nakamura Kotaro VI, a noted Japanese kabuki actor, is on a personal crusade to promote the art of kabuki to the world, and he chose the Philippines as the launching pad for this cultural mission.
Born Yuta Nakamura on December 23, 1993, he comes from a long and noble line of actors. He is the sixth to carry the name Nakamura Kotaro, a title that traces back to his great-great-grandfather, Nakamura Utaemon V, who was adopted into the kabuki family of the legendary Nakamura Shikan IV in the 19th century.
At just six years old, Nakamura made his kabuki stage debut in Tokyo, playing the goddess Kanon in Tsubusaka Reigenki. The following year, he had his hatsubutai or formal stage debut, officially taking on the name Nakamura Kotaro VI. Even at that young age, he had already been trained in the many disciplines required of a kabuki actor, including voice projection, dance, stylized movement, and personal makeup application.
In a press conference organized by KG Management Inc., Nakamura spoke through an interpreter about his deep connection to the art. “This is my soul. This is what I do,” he said, referring to the traditional all-male kabukiperformances where he often takes on female roles.
Interestingly, it was a Filipino who helped spark his desire to share kabuki beyond Japan. As a child, he met a young Filipino student in Japan and asked why he was learning Japanese. The student replied, “I want to give back to Japan.” That moment stayed with him. He was struck by the maturity and sincerity of the answer, and it planted the seed for something bigger.
Through an interpreter, Nakamura shared his desire to introduce kabuki to a broader audience and saw the Philippines, where people have a strong love for singing and dancing, as an ideal place to begin. He believes that kabuki’s unique blend of music, movement, and storytelling is a powerful way to showcase the beauty of the Japanese language and culture to Filipino audiences who naturally enjoy expressive art forms.
During the event, we were also treated to a short clip showing Nakamura preparing for a performance, doing his own makeup with practiced precision.
In his Manila visit, he made courtesy calls to key offices, including the National Commission for Culture and the Arts, Philippine Retirement Authority, and Sentro Rizal. There’s even a possible kabuki performance in the pipeline right here in the Philippines. He’s also looking into organizing actor workshops to share the discipline and philosophy behind kabuki.
Kabuki is fascinating. I’m looking forward to watching a full performance someday, hopefully with Nakamura Kotaro VI in the cast.
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A Glimpse of Kabuki in Manila: Meeting Japan’s Nakamura Kotaro VI
Kelly Austria
Out of Town Blog
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