The Japan Creator Support Fund, a government-backed initiative established in FY2024 within the Japan Arts Council through funding from the Agency for Cultural Affairs, is generating measurable international outcomes, according to a progress report meeting held on June 5, 2026, at the Ministry of Education, Culture, Sports, Science and Technology in Tokyo. The event showcased results from the fund's two main programs: the Support Programs for Creator Development & Cultural Facilities Function Enhancement and the Creator Support Program (Program Development and Implementation), highlighting achievements across music, film, games, visual arts, and performing arts in 23 countries and regions.
Key FY2025 results include 544 creators supported through the Creator & Artist Development Support Program, with 165 overseas performances and exhibitions drawing a total attendance of 873,761. Under the Support Program for Cultural Facilities Function Enhancement, 133 creators were supported, generating 92 domestic and 5 overseas events with attendance reaching 1,900,597. The Creator Support Program has initiated training programs, with participants undertaking overseas study visits to approximately 15 countries, including African nations, to understand global demand for Japanese content.
Notable international achievements include selections at major film festivals: Hanarokushō ga Akeru Hi ni competed for the Golden Bear at the 76th Berlin International Film Festival; Eri, directed by Honami Yano, was selected for Directors' Fortnight at the 79th Cannes Film Festival; and Housenka was chosen for the Feature Film Competition at the Annecy International Animation Film Festival 2025. In performing arts, the National Ballet of Japan's staging of Giselle at London's Royal Opera House from July 24–27, 2025, led to the company being named Outstanding Company at the UK's National Dance Awards 2025, a first for a Japanese ballet company. Shochiku's kabuki production How an Onnagata Is Made undertook a European tour in April 2026, presenting six performances across Paris, Rome, and Cologne.
Vice Minister Shigeki Kobayashi emphasized the government's commitment, stating that "creators and artists themselves are the source of compelling content," reaffirming the importance of sustained investment. The fund, now in its third year, aims to nurture emerging talent and strengthen cultural institutions while promoting international exchange. Organizations such as the Japan Performing Arts Solidarity Network introduced the SOIL Fellowship Program, which sent participants to pitching events in London and Edinburgh. Tokyo Metropolitan Theatre's TMT Gear project provided on-the-job training during overseas performances and 8K recording initiatives. KINEMA CIRTUS reported on the Global Anime Challenge, which facilitated internships at overseas animation studios. Jikei Gakuen School Corporation's Immersive Media Lab++ program, in collaboration with XR company STYLY, conducted overseas research visits and hackathons.
Looking ahead to FY2026, upcoming activities include presentations at the Beitou Art Festival in Taiwan, performances in Slovakia, and exhibitions in Venice, Italy. The fund's official website provides updated information on selected organizations and events: https://creator.ntj.jac.go.jp. These developments underscore the fund's role in building global networks and expanding opportunities for Japanese creators, generating tangible results that enhance Japan's cultural presence worldwide.
