Kushibiki Yumindo (櫛引弓人, 1859/1865 – July 28, 1924), also given as Yumeto, Yumito, and Yumeno, was a Japanese impresario responsible for organizing many international exhibitions in the late 19th and early 20th centuries.

According to the 1916 profile, "At the Columbian Exposition at Chicago in 1893 he presented his first conception of an exploitation of Japan on the Midway, which proved highly successful, both as an instructive and popular exhibition and as a financial venture.

Aside from the names and dates of expositions in which they participated, there are few descriptions of what sorts of work Kushibiki and Arai actually did at the expositions they organized, but it can be surmised that they operated as independent entrepreneurial managers or contractors in a style somewhat reminiscent of Professor Risley and his so-called Imperial Japanese Troupe, or Tannaker Buhicrosan's Japanese Village at Knightsbridge, London.

For the Atlanta Cotton States and International Exposition, September to December 1895, Japanese commissioner M. Fujisawa requested and received a place off the Midway for a "high class" attraction.

[8] Although the Japanese exhibits at the 1897 Tennessee Centennial and International Exposition at Nashville were omitted from its official guidebook, they were at least spared the indignity of the racist depiction of the Chinese Village with its "queer creatures that are almost savages" and theater of "crude acting and dancing.

"[9] Nor could Kushibiki attract much attention on the Midway at the Omaha Exposition in 1898, where "the German Village, the Streets of Cairo, the Temple of Palmistry, the Japanese Tea-Garden, and a hundred others, offer their various tempting delights.

"[10] In addition to their exposition work during this period, Kushibiki and Arai also ran a Japanese tea garden and nursery in Atlantic City.

"To create the distinctive subterranean grotto ambiance, Morris hired Japanese garden makers Kushibiki and Arai to arrange one hundred tons of local Wissahickon schist into rockery formations resembling a cave or mountain cliff accented by delicate waterfalls, a flowing stream bed, and a goldfish pond.

[13] In March Arai arranged screenings at the Kawakami-za in Kanda, a modern Western-style theater opened the previous year by actor-playwright Kawakami Otojirō.

On March 1, the Miyako Shimbun, a Kyoto newspaper, reported that Kawakami planned to leave in 20 days with his wife Sadayakko, niece Tsuru, and an 18-member troupe.

[15] Before their departure, Kushibiki "left suddenly for San Francisco ahead of the Kawakami company with the explanation that he was called back early because his Atlantic City enterprise was in trouble and he was not feeling well.

"[18] Kushibiki's choice of manager proved disastrous: within weeks Mitsuse had driven the troupe into bankruptcy through mismanagement and outright theft.

At the end of August he was still hospitalized; "his partner, Mr. Arai, has had charge of the Japanese village, and a monster benefit has been prepared in behalf of Kushibiki."

"[19] Kushibiki had little time to lose in organizing his next "Fair Japan" in Charleston for the South Carolina Inter-State and West Indian Exposition, set to open on December 1, 1901.

"A Japanese rock garden, complete with Bonsai trees, waterfalls, and bridges, was recreated inside the Fair Japan concession.

Japanese writer Yone Noguchi worked as a curio-seller, “doing a pretty good business, selling things between 7 and 12 dollars a night,” and stayed through the summer, as it was “awfully jolly to do such a thing upon the roof full of fresh air and music.”[21] Kushibiki's third New York project was a set of Japanese-style buildings for railroad millionaire Frederick William Vanderbilt's summer camp in the Adirondacks at Upper St. Regis Lake.

[28] By the time the exposition opened on June 1, just days after the Japanese navy destroyed the remains of the Russian fleet in the Tsushima Straits, Japan was celebrating imminent victory in the Russo-Japanese War.

In 1904, he had become interested in Texas rice production after the Southern Pacific Railroad and the Houston Chamber of Commerce invited Japanese farmers to the region.

[30] In January 1906 Kushibiki could be found in Venice, California organizing fireworks and "installing an extensive exhibit of the art goods of Japan.

By January 1908 he had moved the Jamestown Japanese exhibits to Jacksonville for the Florida International Exposition, where he held the prestigious position of Director General.

Kushibiki was instructed by the Japanese Commission to oversee the general welfare of the entertainers, including the provision of handsome returns after the completion of their services.

Most of its buildings and grounds, including Kushibiki's Japanese installations, were subsequently dismantled, among them, replicas of the Great Buddha of Kamakura and the Kinkakuji temple at Kyoto.

Parts of some of the buildings and gardens organized by Kushibiki and Arai are still in existence, though most have been lost due to age, fire, war, vandalism, and changing tastes.

In 1920, the Japan Chronicle reported that "a man giving his name as Kushibiki Yumindo" was in talks with the city of Osaka about "a grand pleasure ground to be called the 'American Park.'"

"[35] On July 28, 1924, the Nippu Jiji reported that "K. [sic] Kushibiki, a show man, well known among Americans and Japanese, died at Kamakura today.