Born in Nagoya Japan, choreographer, dancer, and co-founder of Motimaru Dance Company. From 2005 he had been studying butoh with Yoshito Ohno, son of Kazuo Ohno and worked as his assistant. After 2010 he has started field work researches of local and traditional dances in Japan, India, Nepal, Spain, and Bali, studied Balinese dance with Agun Anom Putra, I Made Djimat, and Ida Bagus Oka Wirjana, in search of universal principle of movements and dance. Since 2008, he has been immersed in the practice and study of Eastern contemplative traditions, particularly following the Tibetan traditions, and bridging between contemporary art practices and the age old wisdom. He has been performing and teaching in: Venezia Biennale 2010, 9th International Choreography Competition "No Ballet”, International Dance Festival Lucky Trimmer 2016, Hildesheim University, Leipzig University, Hasselt University, Academy of Media Arts Cologne, etc., Europe, Asia, Australia in over 50 cities.

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"I encountered dance through my teacher Yoshito Ohno, who taught me butoh. To expand my view of dance, I travelled in search of great masters around the world: Balinese dance, Flamenco, Kathakali, Kathak, Noh theatre, Contemporary dance and other dance forms across the world.

Still, the question of what kind of dance I should create remained unresolved within me.

 

Gradually, I began to realize that what I was searching for was not dance itself, but something more fundamental.

Before thinking about art or dance, I think about life and death.

And to think deeply about life and death inevitably leads to simple, fundamental questions:

Who are we?

What is this body and mind?

How do we, and how does the world, exist?

 

Once, my father and I were standing in the kitchen. He said, “Today the kitchen is darker than usual.”

I looked at his face and replied, “Father, you are wearing sunglasses!”

It often feels to me that we move through life wearing invisible sunglasses, without truly seeing the nature of reality.

 

Many modern artists courageously attempted to remove some layers of these sunglasses.

Rodin, Surrealists, Francis Bacon, Hans Bellmer—these works revealed the rigor of existence, desires, fears, violence, and chaos hidden in the subconscious.

I deeply admire and respect their sincerity, their refusal of hypocrisy, and their uncompromising gaze into existence.

Yet, the vision they revealed often feels as if it leaves us deep in the mud.

 

But I believe that a lotus can bloom from the depths of this mud.
Beneath the mud of the subconscious—with all its wounds, desires, and fears—is there not a more primordial ground of consciousness?

Is this ground something hidden behind phenomena, separate from them, as suggested by certain strands of abstract painting such as Kandinsky?
Or is it rather that this mud, this body, this room, this very moment are nothing other than its manifestation?

Rather than searching for a higher reality elsewhere, I choose to remain here.
I continue to seek the fundamental truth through this body-mind, here in this space, as it is.

 

Nowadays, art often seems less concerned with the human being in front of us, and more concerned with critiquing political, social, and institutional systems. Although I find some of these works truly valuable, my interest lies elsewhere: in bringing the lived body-mind and lived phenomena back into art, to return to questions that postmodernism set aside—not by going back, but by seeing deeper.
Thus, I practice performing art as a path to explore the truth of existence through direct experience.”