[About the dance we aim for]
We aim to approach the era in which it was choreographed.

・Since it was originally danced in a "Zashiki", tatami room, we think it's important to dancing in a tatami room rather than in a theater. We believe there is something to convey by using more natural lighting instead of theater lighting, using the atmosphere of a tatami room rather than the sense of distance of a theater, and viewing from the perspective of sitting on the floor in the flat audience seats rather than looking up from below or down from above the stage. 　
I would like to cherish the breathing, the sound of silk rustling, the gaze that makes you feel as if your eyes are meeting each other, all of which are unique to a small space.
Since many audience can't see it at once, we need to put more effort into it. One way to do this is to prepare yourself.
I believe that trial and error must continue for this purpose.

・Since the dance will be performed in a well-lit tatami room, we aim for a more natural look .
Based on traditional water makeup and Japanese hair styled with Binzuke oil, I would like to explore the significance of dancing with our bodies and minds today while thinking of the people of the Edo, Meiji, Taisho, and early Showa periods. That's what I think.


・Our dance was choreographed at a time when Susohiki (dragging hem) kimono style was common. The physical sensation is completely different from the modern style with the folded hem, so we would like those who study at our group to experience dancing with Susohiki kimono style as much as possible.

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[About the performance]
Since we collect admission fees from audiences, we believe that we should be professional.

・As a general rule, during paid performances, we operate solely on the admission fee collected by the audiences.


・Performers do not have to pay participation fees for paid performances.
Performers are selected purely based on their ability.


・There is no ticket quota for performers or students.
As a result, I have a hard time attracting audiences, but I consider this experience to be part of our training as a dancer. ​
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[About the practice room]
We aim to continue working comfortably both financially and mentally.

・We do not ask our students to make any financial contributions other than the monthly fee, the purchase of a practice fan, and the once-a-year dance performance. Of course, twe do not ask to purchacing kimonos or yukatas, and there is no ticket quota. There is no charge if you dance with Susohiki kimono style.
However, if you wish to receive a license such as Natori, an additional fee will be required.


・The number of days off will be carried over, and once you have accumulated four days off, the next month's monthly fee will be free.
Even if you feel unwell or have to take time off due to work or other reasons, we want you to make the decision to take time off without any hesitation.


・We do not force our students to participate in or interact with events.
Some people are a good fit and some people are not. I don't think you should force distance between your relationships. 　


・We do not compare students with each other.
Since each person's circumstances are different, the amount of time and energy they devote to practice will vary. We do everything we can to eliminate factors that could lead to comparisons, such as deciding the order of performance by drawing lots during the dance performances so that the order of entry is not known.


・We value each person's individuality.
It is natural for people to have strengths and weaknesses, and the real pleasure of dance is that the taste changes depending on each person's individuality. I believe that everyone has their own unique charm, and it is the role of the instructor to bring out that charm. The purpose of practice is not to fit into a pattern and copy the instructor. We believe that it is important to develop dancers with a variety of charms.
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