“At the Table” is an article series for Dumpling Box that highlights and introduces various artists or group members through various insights—artist-exclusive or fan-inclusive. This series allows for deep dives into the artist’s personality, work, and influence, creating an intimate and immersive experience for readers, as if they were at the table with you.
For artist and choreographer Matori Hayashi, movement is more than performance—it’s a language. Through his work, he continues to explore the intricate dialogue between motion and stillness, body and emotion, line and life. From choreographing some of Japan’s leading talents to illustrating art that seems to breathe on paper, Matori’s art exists in the spaces between disciplines, where physical expression meets visual storytelling.
Beginning his career in 2002 as a performer, Matori soon became known for his skill in choreography, creating numerous stage pieces even during his time as a talent. In 2019, he moved to New York and Los Angeles to study a variety of dance styles, an experience that greatly expanded his artistic range. Upon returning to Japan, he retired from performing and began working as an in-house choreographer for STARTO ENTERTAINMENT, contributing to live stages, theatrical productions, and TV performances.
In addition to choreography, Matori also designs official merchandise for the agency, including portrait illustrations for groups such as Naniwa Danshi, Ae! group, and other Kansai Juniors. In 2025, he departed his full-time position with STARTO ENTERTAINMENT to pursue a new chapter as a freelance choreographer and illustrator. His works reflect an innate curiosity about the human condition—each piece a study in empathy, fragility, and connection. Whether through the arc of a dancer’s hand or the stroke of a pencil, his artistry invites viewers to feel rather than simply see, capturing emotion with subtle, living detail.
Before diving into the full interview for At the Table, it’s worth remembering that Matori’s creative path is a story of transformation—one that took him from performing under the spotlight as part of the Kansai Juniors—most memorably, Funky8—to crafting the choreography and visual language behind some of STARTO ENTERTAINMENT’s most memorable acts. This shift from performer to creator now defines his artistic identity: a balance of motion, perspective, and empathy that continues to evolve.
When Dumpling Box sat down with Matori, he spoke candidly about his creative journey, the philosophy behind his multifaceted approach, and how he continues to seek authenticity in every form of art he creates. As he spoke about his creative philosophy, we came to understand that the pursuit of art is ultimately the pursuit of honesty—a reflection of life as it moves, breathes, and transforms.
“I’m Matori Hayashi, and I’m currently working as a choreographer and illustrator, but I originally started out on stage as a performer,” Matori begins by introducing himself with a quiet smile, his words carrying the calm confidence of someone who has lived both under the spotlight and behind it. “You could say I’ve shifted from being the one on stage to the one watching and creating it.“
Having stepped away from his position within STARTO to explore broader opportunities, he now focuses on choreography that reaches across genders and genres, mainly centered in Osaka. At the same time, he continues to collaborate with STARTO as an illustrator, expanding his visual work alongside his growing choreography career.
When asked when his journey with dance began, Matori recalls it with a nostalgic laugh. He didn’t start with formal lessons—instead, dance entered his life when he joined the agency at the age of twelve, during his final year of elementary school. “From the beginning, I loved it,” he says. Having already played piano and loved music, movement came naturally to him. Though he admits he wasn’t very good at first, the joy of dancing itself pulled him in completely. “It was fun from the start,” he reflects, the warmth in his tone hinting at how deeply music has always been a part of him.
In 2019, he made the bold decision to leave Japan and study dance in New York and Los Angeles—a choice born from curiosity and the desire to grow. Having spent years performing and eventually choreographing his own routines, he realized he wanted to strengthen his skills and expand his understanding beyond the familiar boundaries of idol choreography. When reflecting on the turning point that led him overseas, Matori’s expression softens with the memory. “When I started doing choreography for our own performances, I gradually started really enjoying it, and it made me want to further expand my skills. But I felt that my repertoire was very limited as I only knew the kind we did within the agency,” he explains. “So I wanted to engage with dance from many parts of the world and see the world’s dances with my own eyes.”
Immersing himself in the vibrant, high-energy dance scenes of both cities changed his perspective entirely. “My choreography became more creative,” he reflects. “I started thinking in detail about structure—how to build momentum, how to present things in different ways to make the chorus stand out a bit more, but mostly how to tell a story within a single song.” What had once been a set of movements, simply a dance for one song, became something cinematic, almost narrative. The overseas experience didn’t just refine his technique—it reshaped his way of storytelling through dance.
As we continued our conversation about his time overseas, the topic naturally turned to what he had observed between cultures. It’s one thing to study abroad and another to let those experiences rewire how you see the art form itself—and Matori’s reflections reveal just that. He doesn’t hesitate, as to him, the contrast is striking when it comes to the differences between dancing in Japan and abroad.
“In Japan, dancers tend to focus on precision and beauty,” he says thoughtfully. “But overseas, people dance with passion—with their whole spirit. Even if their technique isn’t perfect, there’s this raw energy that hits you.” He describes it as the difference between craftsmanship and instinct: Japan’s polished professionalism versus the unfiltered joy of movement he felt on the streets of New York and Los Angeles. “Overseas, everyone just looks like they’re having so much fun,” he adds with a smile. “It’s part of their culture—they embrace street performances, they celebrate dancing together. In Japan, you’d probably get told you’re in the way. There, people accept it naturally and cheer you on.”
He also laughs when comparing the dance styles between Kansai and Kanto, seeing the distinction less as a regional one and more as a matter of personality. “Kansai dancers are usually bold and love to stand out—they’re like, ‘Go go go! Show ‘em what you’ve got!’ and push forward,” he says, gesturing animatedly. “Meanwhile, Kanto dancers often tend to be more shy and reserved, and it shows in their dance as well—They are more careful in their expression.” Both, he notes, have their own beauty—and understanding those nuances has helped him teach and choreograph for performers across Japan.
When talking about his approach to choreography, it’s clear that Matori’s versatility is at the heart of his craft. He’s worked with artists across genres and generations, yet each project feels distinct—tailored to the performer’s personality and the story the song wants to tell. Still, through all this variety, his attention to detail remains unmistakable. For him, the most important thing is to create a moment that lingers—something the audience will never forget.
“I always try to make a signature for every song—a memorable point that will leave an unforgettable impact,” he explains. “That one move or formation that makes people say, ‘Oh, that’s that song.’” Whether he’s crafting for Ae! group, AmBitious, or other artists, he ensures each piece stands apart not only from other groups but from the artist’s own existing repertoire. Before starting a new choreography, he even reviews previous works to make sure his ideas remain fresh and distinct.
When teaching in his new dance workshops, Matori applies the same dedication but adapts his methods to his students. With idol groups, though, his focus expands beyond dance technique to include presence—how to command the stage, play with lighting, and connect with the audience.
“It’s more than just about movement,” he says. “When it comes to performing on stage, I don’t just teach them how to dance, but also how to get the audience excited, how to shine when the spotlight hits. I don’t go so far as to produce the group itself, but I do try to teach them how to perform on stage in a way that will raise the group’s level not just in dancing but in other ways as well.” For workshop dancers, meanwhile, the emphasis is on skill-building. Logical and precise, he breaks down every motion step by step, explaining how each small adjustment affects how the body moves.
“I talk a lot,” Matori laughs. “I spend a lot of time explaining how a step works and how to make it look better, so sometimes half the lesson is only me talking.”
When asked which is more rewarding, he takes a thoughtful pause. “They’re completely different kinds of fulfillment,” he admits. “But because I’ve been on stage myself, I think I feel most connected to the idol side. Their growth is more visible—you can easily see when they’ve improved, both by the way they perform and hold themselves on stage and by the audience’s reactions. The steady and clear improvement makes it special.”
As our discussion shifts toward advice for dancers eager to strengthen both their technique and memory for choreography, Matori answers with the kind of practical insight that only years of experience can teach.
“It really comes down to practice and familiarity,” he says matter-of-factly. “The more routines you learn, the faster you get—it’s about building that muscle memory.”
But beyond repetition, he shares a specific method he often teaches his students: breaking down a song into sections. “Most choreographers teach from start to finish, but I like to think in blocks—A-melody, B-melody, chorus, and so on. Usually, it’s the transition from one block to another that makes one get confused and forget what comes next, so when teaching, I put extra emphasis on remembering those points and the move that comes right after. As long as you remember the connection point between blocks, you won’t lose your place.”
He recalls his time in New York, where classes moved at lightning speed. “They’d teach a full routine in one session—it was intense! Even though I was used to fast-paced lessons back home, I had to adapt quickly. That’s when I realized how important it is to learn transitions, not just steps.”
The method stuck with him, and now he passes it on to his students: focus on how movements link together rather than just memorizing each one in isolation.
Despite his busy schedule choreographing and holding workshops across Japan, Matori’s passion for teaching continues to grow. He shares that one of his next big goals is to open a regular class of his own in Tokyo.
“I’m aiming for next spring,” he says with a hopeful smile. “That’s what I’m currently working on. If things go smoothly, I’m hoping to start running a regular class.”
It’s an exciting step for someone who has spent years mentoring dancers from different backgrounds—a way to create a space that truly reflects his teaching philosophy and artistic spirit.
Following up on the topic of teaching, we asked whether Matori had ever considered expanding into online classes—especially in an era where digital lessons have become more common. He nods, recalling the early pandemic years.
“I actually tried it during COVID,” he explains. “At that time, no one could go to lessons, so I taught online for students from STARTO and others who reached out.” But despite the convenience, the experience left him feeling that something essential was missing.
“It’s hard to communicate movement through a screen,” he admits. “The sound cuts out, the timing shifts—and it just doesn’t compare to teaching in person. I can explain things with words, but it’s harder to properly see the full details of a movement through a monitor.”
While he appreciates how technology connects people, Matori prefers the immediacy of in-person teaching.
“Nothing compares to teaching directly face to face,” he says. “The negatives outweigh the positives, so I don’t think I’ll go that far in the future.”
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Each artist has a project or performance that feels like a mirror of who they are—and Matori doesn’t hesitate to mention Lumi7’s (Pronounced “Luminous”)—an Osaka-based boy group for whom he directs and choreographs every detail of their stage performances.
“Right now, they’re the ones I’m pouring everything into,” he says. Beyond choreography, he oversees full concert direction, from setlists and transitions to prop usage and even comedic skits. “It’s where I can put everything I’ve learned to use—the choreography, the storytelling, even the acting elements.”
He describes Lumi7’s as a culmination of all his experience, a project that allows him to apply every skill he honed through his years at STARTO. “I put my whole heart into their shows,” he says with quiet pride. “From the script to using props, and of course, the choreography using those props, I’m really pouring everything I’ve learned in STARTO into them.”
Matori recently opened his official YouTube channel, and the first video features his choreography for Lumi7’s “ぶぎうぎぶー！” performed not by the group, but by a dedicated dance team: Matori himself (white), Seitaro (blue), yuineko (yellow), Ayuna (pink), Maria (red), and Sayo (green).
As for his past work, he still feels a deep connection to groups like Ae! group and AmBitious, whose performances he helped bring to life through pieces such as “Stray dogs.” and “Reach for the sky.” His choreography work is not limited to just artist and song choreography but also extends to stage productions, live event direction, and TV choreography, and a range of theatrical productions: THE GREATEST SHOW-NEN: Gachi de Never-ending na Story! (2022), We’re called Ae! group (2024), and Toshishita Kareshi ~Kimi no Tonari de~ (2025) are among those.
“Those projects still carry traces of my style,” he admits with a nostalgic smile. “You can probably still see little pieces of me in there.”
For someone who wears many creative hats—choreographer, illustrator, and performer—freelance life has opened new doors for Matori. He reflects on what independence has meant to him with a sense of freedom that’s almost tangible.
“When I was working within a company, I could only create for that world,” he explains. “Now, I can work with so many different people—draw their portraits, choreograph for artists I never could before. That’s what freedom feels like to me.”
He also smiles, noting how moments like this interview are part of that newfound openness.
“Back then, I wouldn’t have been able to do something like this. Now, I can share my story directly. My work has expanded so much—and that’s what makes it exciting.”
Matori’s artistic journey isn’t limited to choreography alone—drawing has been an equally vital form of expression for him since childhood. “My mother is a painter,” he shares warmly. “So I grew up surrounded by brushes, paints, and canvases. Drawing was always a natural part of my life.”
That creative environment nurtured his love for illustration long before his professional debut.
The turning point came right after he left his performing career to focus on choreography. Around that time, Tadayoshi Ohkura of SUPER EIGHT approached him with an unexpected idea: “He asked me, ‘Why don’t you try drawing their (Kansai Juniors) portraits?’” Matori recalls.
What started as a casual experiment—sketching fellow talents backstage at Shochikuza—quickly turned into something more. “He told me, ‘These are so cute, can we make them into merch?’” Matori laughs. “That’s really how it all started. It’s thanks to Ohkura-san.”
Since then, his clean yet expressive illustration style has become instantly recognizable—capturing each person’s warmth, quirks, and individuality in a few simple strokes. It’s an artistry that, much like his choreography, balances simplicity with emotion.
His illustrations may appear simple at first glance, but there’s a precision and empathy in each line that reveals how deeply he observes his subjects. For Matori, the secret lies in capturing the essence of a person—their natural expression, their small but defining quirks.
“I always focus on their charm, their impression,” he explains. “If someone usually smiles with their mouth closed, I draw them that way. If they’re always talking, I imagine them mid-sentence with their mouth open. And if their eyes crinkle when they laugh, I make sure to draw that too.” It’s this attention to expression that makes each of his drawings feel alive, as if the person themselves could step out from the page.
Interestingly, despite the deep emotional awareness that connects his two worlds, Matori doesn’t necessarily see his dance and illustration work as intertwined. “They’re separate for me,” he admits with a small laugh.
Dance is movement, illustration is stillness—they each have their own rhythm.
Between these two worlds lies the core of what Matori expresses through his work — the ebb and flow of creativity itself. His reflections remind us that whether through motion or stillness, every act of creation carries its own beat, its own pulse, and its own way of speaking to the human heart.
Though much of his recent work has been behind the scenes, it’s impossible to forget that Matori once stood in the spotlight himself. When asked if he’d ever want to perform again, he pauses, thoughtful.
“I don’t really have the urge to return to the stage as a talent or artist,” he admits. “But I’d be grateful to appear in front of people again—not as a performer, but as a choreographer or illustrator.”
There’s no trace of regret in his tone, only quiet gratitude.
“I was someone who once stood on stage, then chose to step away from it,” he reflects. “So being given chances to appear again in any form—it means a lot to me.”
He smiles, adding that if it were as a dancer, choreographer, or illustrator, he wouldn’t mind at all. “As long as it’s in the role I’ve built for myself now, I’d be happy to stand there again.”
Looking ahead, Matori’s goals for the next five years are as clear as they are ambitious.
“I want to create choreography that everyone knows,” he says earnestly. “Something so recognizable that people can instantly say, ‘That’s Matori’s work.’”
Having already made his mark within STARTO, he now hopes to build a legacy that extends far beyond it—one that connects his name to iconic performances known across Japan and beyond. “If I could have that one major credit, that one choreography people everywhere recognize and say, ‘He made that,’ it would mean everything to me.”
The same dream extends to his illustration work.
“It’s the same goal, really,” he reflects. “To draw something everyone knows—to create visuals that make people say, ‘Ah, that’s Matori’s art.’”
For him, it’s not about fame, but about leaving an unmistakable creative fingerprint—a mark of warmth, effort, and individuality that speaks even when words or motion fall silent.
To many of his fans—and those who have followed him since his early days—his work designing for the Kansai STARTO groups has already left a lasting mark. Fans across the world cherish those goods wholeheartedly, treasuring the warmth and personality embedded in every detail, and as mentioned earlier, there’s a particular care and attention to detail in those designs that only Matori could create. For those fans, it’s already a clear declaration: that’s Matori’s art. In many ways, it’s a step in the right direction toward the very goal he envisions for the future.
As our interview draws to a close, Matori shares a heartfelt message to his fans—both in Japan and around the world—who have supported him throughout every chapter of his journey.
“First of all, thank you so much for reading and for continuing to support me,” he says sincerely. “Becoming a freelancer gave me the chance to step away from my past self and really work freely, but I want to keep expanding from here—to choreograph for artists of all kinds, regardless of gender or genre.”
His eyes light up as he speaks about future ambitions: choreographing for commercials, new acts, and mainstream media appearances. “I want to be someone whose work people see everywhere, in different forms.”
As Matori continues to prepare to open his own dance classes in Tokyo next year, fans and alike—especially those in Japan and Tokyo—have much to look forward to, while his illustration work continues to grow with new projects and commissions.
“At first, I thought my work would be seventy percent choreography and thirty percent illustration,” he says with a grin. “But now it’s closer to half and half—and I want to keep expanding both sides.”
He closes with a hopeful smile: “I might be currently planning illustrations in places that you may be able to see in the near future, so please look forward to it. I really appreciate your support.”
In the end, Matori’s story is one of movement and stillness, of transformation and quiet perseverance. Whether sketching a smile in a few soft lines or building an entire world through choreography, his art reflects a rare balance—where motion speaks and silence breathes.
He is, in every sense, a creator of connection: between people, between mediums, and between the past and the ever-evolving future of Japanese entertainment. His rhythm, whether in dance or in art, continues to resonate far beyond the stage.
More Matori Hayashi
Website： https://matorihayashi.com
Instagram（main）： @matori_hayashi
Instagram（Illustration）： @matori_art
X（旧Twitter）： @matori_884
TikTok： @matori_hayashi
YouTube：@matori_hayashi
Interview translated and interpreted by Oru.
Editorial and production by Sabina.