In my continuing research into Japanese-produced kangas, I came across this striking example shared by the Goldstein Museum of Design, alongside the following context about the piece:

“After WWI, Japan’s economy had been adversely affected by high tariffs and a Chinese boycott of its exports. With newly opened shipping routes and a population who wore high-yardage wrappers, East Africa became a logical place for Japan to expand its textile trade. Japanese representatives living in East Africa worked with locals to develop appropriate patterns and messaging. This piece was made at the Shōnan Kōgyō Company in Wakayama, then one of only two Japanese companies able to print cloth at the most marketable width in East Africa.”

No explanation was shared for the jina Lady Show, so its meaning remains a mystery to me for now.