A mural symbolizing Mizonokuchi, known as the “Mecca of Breaking” where globally active B-Boys and B-Girls were born, is now on display in the north-south passage of Musashi-Mizonokuchi Station on the JR Nambu Line. The piece was created by Japanese mural artist DRAGON76, who is active in the world of street culture. The work conveys the history of Mizonokuchi as a breaking hotspot and expresses the current state of Japanese street culture, becoming a piece loved by the local community.
Mizonokuchi is a special place where generations of breakdancers continue to gather. It is where B-Girl Ami, a gold medalist at the Paris Olympics, and internationally renowned B-Boy Shigekix honed their skills from a young age, making it a site recognized both in Japan and abroad.
This project began to raise awareness of Mizonokuchi and its culture. Dancers from Kawasaki, including B-Boy KATSU ONE and B-Boy Steez, took the lead in forming the Kawasaki City Takatsu Ward Breaking Monument Production Committee, collaborating with local organizations, schools, and dance professionals to bring the mural to life.
To celebrate the public unveiling of the mural, completed after a 12-day production period, the “MIZONOKUCHI Breaking Art Completion Ceremony” was held on Saturday, October 11. In attendance were members of the Takatsu Ward Breaking Monument Production Committee who participated in the creation, along with the stationmaster of JR Musashi-Mizonokuchi Station, the Mayor of Kawasaki City, and other government officials. The event was also open to the general public using JR and the station building.
During the ceremony, B-Boys and B-Girls based in Mizonokuchi, from rising talents to legendary performers, came together to deliver a special performance, electrifying the audience. Following the performance, DRAGON76 signed the mural, officially marking its completion.
Following the signature ceremony, members of the Production Committee and the Mayor of Kawasaki delivered congratulatory remarks, and DRAGON76 explained the concept and background of the mural. Finally, a group photo in front of the mural closed the ceremony.
The FINEPLAY editorial team conducted an exclusive post-ceremony interview with DRAGON76, covering behind-the-scenes stories of the mural’s creation, his thoughts on conveying street culture through mural art, messages for the next generation involved in the scene, and his future plans.
We hope readers will visit MIZONOKUCHI in person, see the mural with their own eyes, and feel the passion for street culture embedded in the artwork.
Mural Artist “DRAGON76” Special Interview
DRAGON76(hereafter：D)
A historic piece that fully embodies DRAGON76’s vision—pushed 200% to reflect his personal style—and now stands as the iconic face of the future street culture landmark.
― After 12 days of creation, the mural at Mizonokuchi Station was completed. How do you feel about it?
D: This time, I had a full schedule for production, the weather didn’t interfere, and I was able to fully use all the planned days. I feel that the quality of the piece turned out to be the best it could be.
I also personally love hip-hop culture, and since my son practices breaking, I have a deep respect for the breaking scene.
Because of that, being able to create a mural at Mizonokuchi Station, a sacred place for breaking, is an historic moment for the Japanese hip-hop scene, and I feel truly honored to be part of it. Above all, I’m extremely happy that I could push my own artistic vision 200%—without compromising a single millimeter—and complete the work exactly as I wanted.
― Could you tell us about the concept behind this mural?
D: Mizonokuchi itself is a world-renowned spot for breaking, with many legendary B-Boys and B-Girls dancing here over generations. I felt that it was extremely important to showcase this sacred place of Japanese hip-hop culture to the world.
For this piece, I created a story where hip-hop—a culture born in New York—crossed the ocean to Japan and developed into a new culture by blending with Japanese aesthetics and other elements. The central character in the mural represents this fusion, imagining the kind of chemical reaction that would happen when traditional Japanese motifs mix with hip-hop and American culture.
The design is street-inspired and American in style, yet the dancers and fashion within the mural incorporate Japanese elements, so that it feels distinctly Japanese. I wanted to create a piece that could proudly represent “the coolest Japanese hip-hop” to overseas audiences, while also giving Japanese B-Boys and B-Girls something to take pride in. I spent a lot of time thinking about and crafting this concept.
― One unique aspect of mural art is interacting with the local community while creating it. How did people in the area respond to this work?
D:One thing that pleasantly surprised me was the interest from older generations. I expected that young people would be drawn to street and spray art in a station like this, but I was really happy to see that older people were also engaged. I think a big reason for that was the Japanese-style design and incorporation of traditional Japanese elements. In that sense, I’m really glad that I chose to include those Japanese influences in the mural.
― By the way, DRAGON76, who creates murals across the U.S. and throughout Japan, do you notice any differences in how people react to your mural art depending on the region?
D: “Yes, there are definitely differences. The environment surrounding mural art is completely different in New York compared to Japan, and even within the U.S., reactions vary greatly by state.
For example, in New York, when I paint on the streets, passersby often immediately express their impressions if they like the piece. They might say ‘This is great!’ right away in a friendly way, which is rewarding, though it can sometimes interrupt my focus mid-creation because of so much interaction. Still, being able to communicate with people and get instant, real reactions is one of the joys of creating street art in the city.
In contrast, in Japan, people don’t usually comment immediately when they like something. Instead, they observe quietly for a while. They might approach and speak to you when you take a break or pause to have some tea or water. This sense of respectful distance is very unique to Japan. As a fellow Japanese person, I find this considerate and very comfortable—it’s a different but equally meaningful form of engagement.”
On the coexistence of mural art and breaking in street culture
― Including mural art and breaking, after being involved in street culture for many years, how would you describe it to yourself now?
D: Street culture originally started in New York, but when it came to Japan, the people who have been involved in hip-hop, breaking, and street art from the beginning can now proudly say, “This is our culture,” and I think that is a really significant thing.
Today, street culture is known by many people, and the number of people involved has grown, but 10–20 years ago it was a minority culture. That sense of pride is, I think, stronger than in many other cultures.
― Has breaking and mural art always been closely connected in Japan?
D: Yes, they have. Broadly speaking, both breaking and mural art originated from hip-hop culture, so the music we listen to and the vibe are very similar. Personally, because my son does breaking and I am close to B-Boys and B-Girls, I also feel a strong sense of connection to that world.
― Since both come from hip-hop culture, do you ever feel a link between breaking and mural art while creating your murals?
D: Yes, I do. Even though the forms of expression are different, both are expressions of hip-hop and street culture. Art conveys messages visually, so when I put meaning into a painting, I think carefully about how to communicate it to the viewer.
On the other hand, dance conveys something to the audience physically in the moment. But fundamentally, both share a common goal of expressing what is inside you—frustrations, peace, and other feelings—even if it isn’t conveyed in clear words.
I also love that hip-hop promotes “Peace, Love, and Unity,” and the breaking community shares that value. Historically, it started as a way to resolve community conflicts through dance battles rather than violence. In that sense, there is a deep connection between the two forms in their nonviolent expression of ideas.
DRAGON76 on the core of street culture he values and what he wants to pass on to the next generation
― How do you view the trend of street culture permeating society?
D: I’m really happy when young people choose street art as a way to express themselves. I genuinely enjoy street art, and painting murals and wall art with spray cans is incredibly fun for me.
Even during the production period, I felt like, “I want to wake up and continue painting as soon as possible, I can’t wait for the next day to paint again,” because I love street art that much. I want more people to know that joy, and I believe that anyone who gets hooked will really get hooked. Through street art, I hope they can make their lives more enjoyable.
― In your own expression, is there a kind of “core” or principle in street culture that you value?
D: Recently I’ve been saying this a lot, but whether it’s art or any kind of work, I think the basic principle is contributing to society. Painting art is partly driven by my own ego, but I also strongly feel the desire to give back to society.
It’s not a grand message about changing the world or society, but, for example, when painting in a place like a station, I want to create works that give energy to people who have tough jobs or who commute every morning. I want the painting to support those people. That’s why I don’t really want to paint negative images.
― Is there anything you want to convey to young artists or the next generation involved in street art?
D: One important thing is that when you’re young and have time, you should absolutely learn English. Being able to speak English truly expands your world, no matter what you do in the future, and it increases what you’re capable of.
Street art can be merit-based, so it’s possible to succeed without English, but if you can speak English, there are definitely more opportunities and paths. Communication in English can create new possibilities, and that’s a big deal.
Making an effort to learn English is extremely important. I myself still struggle, and there are many times I wish I had studied earlier. So I want to strongly tell the next generation involved in street art or street culture to prioritize learning English.
About future prospects
― Do you have any plans or ideas for future developments?
D: While working in the U.S., I often meet amazing and super-cool artists who are still not well known in Japan. So, through my activities, I want to bring these talented artists to Japan and create opportunities for people to see their works and skills.
By doing so, I want to give people a chance to experience art that hasn’t been seen much in Japan yet. I also think that if more people in Japan get into spray art, the street art scene will grow, and spray cans will probably become easier to get here as well (laughs).
I also want to continue collaborating in areas I’m interested in across different genres. Personally, I like soccer, so I’d love to collaborate with various sports. I also want to collaborate on projects in fashion, music, or anything else I’m interested in, regardless of the genre, to create new works.
― Finally, could you tell us about any upcoming events or workshops you have planned?
D: I have a solo exhibition in Los Angeles starting November 7. In Japan, starting next year, I plan to launch a mural festival in Chiba, where I want to invite those incredible overseas artists I mentioned earlier to help energize the street art scene.
Also, although the dates haven’t been set yet, in my hometown Hino in Shiga Prefecture, I organize a two-day music and art festival every two years together with the local community. I invite amazing musicians and artists I’ve met through my activities, and we plan to hold that festival again next year.
DRAGON76 Profile
Born in 1976 in Shiga Prefecture, Japan. Since 2016, he has been based in New York, working as a mural artist rooted in street art. His works explore the coexistence of opposites, such as past and future, stillness and motion, and good and evil, and his style is constantly evolving.
His largest mural to date measured 256 feet by 53 feet, created in 2021 in Houston, Texas, commissioned by the United Nations. He has painted murals in 48 locations across the United States.
He has won the ART BATTLE NY three times and became the inaugural U.S. Champion by winning the 2018 US CHAMPIONSHIP. He has collaborated with numerous brands, including NEW ERA and X-LARGE. His original character toy “DR76,” a modern reinterpretation of the traditional Japanese samurai which represents his artistic identity, sold out within minutes.
In Kawasaki City, the location of the mural featured in this article, he previously created large-scale murals on the temporary walls of the City Hall construction site in 2019 and 2020. This marks his third mural project in Kawasaki.
text and interview by Daiki Hatakeyama