'Making Japanese Stories More Accessible.' A Future of Connecting People with Traditional Arts through Digital Support by Cyber-JP

Cyber-JP Co., Ltd. announced its 'April Dream' vision to make Japanese traditional performing arts more accessible. The company combines digital tools like YouTube and the review service 'Kabuki Eye' with real-life stage experiences.
キャンペーンNQ 62/100出典:PR Times

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  • 📰 Published: April 1, 2026 at 16:46
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We support 'April Dream', a project aiming to make April 1st a day to broadcast dreams. This press release represents the dream of 'Cyber-JP Co., Ltd.'

Cyber-JP Co., Ltd. is conducting activities to help more people enjoy Japanese traditional performing arts, such as Kabuki, Bunraku, Rakugo, Noh, and Taishu Engeki (popular theater).

What we cherish is the 'power of storytelling inherent in Japanese traditional performing arts'. We tentatively call this 'Japan Dramaturgy'. Traditional arts possess numerous stories that resonate across eras and borders, such as human joy and sorrow, and family or social relationships. However, the current reality is that this charm is not reaching enough people because it is perceived as 'difficult' or 'having a high barrier to entry'.

Therefore, we are advancing initiatives to gradually close the distance to traditional performing arts and 'Japan Dramaturgy' by combining real stage experiences with the power of digital technology.

One of these initiatives is broadcasting information on YouTube. We have been continuously releasing explanatory videos centered around Kabuki, producing approximately 300 videos so far, with cumulative views exceeding 850,000. We prioritize 'communicating clearly' so that even those experiencing traditional arts for the first time can enjoy them.

Additionally, through our Official LINE account, we continuously deliver the latest information, creating an environment where people can naturally interact with traditional arts in their daily lives.

Furthermore, with a service called 'Kabuki Eye', we aim to create a system where audiences can write and read impressions, gathering 'people's voices' about performances to make it a shared asset. We hope to generate a cycle where, rather than professional criticism, the real impressions of people who actually watched the performance connect to the next audience.

In addition to these digital initiatives, we are also putting effort into creating places where people can experience it in real life.

Through performances at the Expo 2025 Osaka, Kansai, as well as Rakugo events and lectures, we have provided opportunities to experience the 'live stage'. The atmosphere and tension of the stage, and the breathing of the performers, are experiences that can only be gained by actually standing in that space.