- Himself - Interviewee: I'm always paying homage to the body. The body is held up, supported by something invisible to the eye. The body is not something you can discover with language, you can't chase it with words. There are those who believe that the body is physically moved by unseen forces that inhabit the flesh.
- Himself - Interviewee: I have my own dance, Hijikata has his own dance. Everyone has their own dance. And it is always evolving. Everything changes. Clouds become rain, rivers, oceans and finally water vapor again. Humans are just the same. I resist a formal notion of Butoh, a structured Butoh that is limited to what you see on stage. I'm not interested in what is finished, what has already been perfected. I concentrate on the process of Butoh, working with what is incomplete, unfinished. Trying to bring the earth to life again is my purpose. I want to make dances that are based on natural phenomena. In order to return to the origins of art, the origins of dance, I strive for a sense of fear, of danger.
- Herself - Interviewee: I am seeking the balance of life and dance. I am interested in a more feminine, emotional expression. Although this differs from Hijikata's original emphasis, it was through the recognition of our differences, that I was able to develop my own personal art. In my work, I am constantly redefining Butoh. Appearing in public includes hiding as well. To be a Butoh dancer does not make you must only be a famous artist on stage. In the orient to be anonymous is a great and common part of life. Through Butoh I learned how to form my identity. Now, I will once again be anonymous.
- Himself - Interviewee: Butoh is timeless. It is always about to be born. That's where its energy comes from. If it actually came into being, it would cease to exist. Butoh is eternally unborn.