The aim of this research paper is to identify the aspects of the cultural mechanism of colonialism employed by the Empire of Japan to dominate its colonies by contemplating the actual background of and purpose for holding Kabuki performances in colonial Taiwan in 1913. During the pre-war period, it was rare for Kabuki theatre troupes to perform in othercountries. The so called `Okabuki`, a Kabuki performance where first-class Kabuki actors appeared, was unheard of, except for Ichikawa Sadanji`s performance in Russia in 1938. However, Ichimura Uzaemon`s Kabuki performances were held in colonial Taiwan, colonial Korea, and the Manchuria regions under the power of the Empire of Japan. The performances in colonial Korea and the Manchuria regions happened in 1935; however, in colonial Taiwan, they were held in 1913. While the Kabuki performances by Uzaemon in colonial Korea and Manchuria were meant to provide entertainment and comfort to the Japanese citizens in the colonial regions as well as to serve as part of the commercial strategies of entertainment companies, the nature of the Kabuki performances in colonial Taiwan was different. The intention of Takamatsu Toyojiro, the promoter of the performances, was to break cultural barriers and to further promote friendly relations between colonial Taiwan and the Empire of Japan by improving impressions of Japan in colonial Taiwan through performances by the noted, well-liked, and famous actor, Uzaemon. Foreign tours of traditional Japanese theatre troupes were used to facilitate the smooth functioning of the mechanism of colonialism for the domination of the Empire of Japan over its colonies.