GONG envisions the human life journey as a bodily narrative — beginning with the innocence of birth, flowing through the playful curiosity of childhood and the exhilarating discoveries of youth. It moves into the complexities of self-formation, shaped by societal pressures and external expectations. Moments of weakened will, inner conflict, and suppressed emotions build toward an inevitable crisis —a moment where the self is forced to confront its own shadow, the unacknowledged parts that shape fear, resistance, and ultimately, the potential for transformation. Through rupture, realization, and transformation, GONG captures the cyclical nature of existence: birth, death, purification, and rebirth.

At its core, GONG is a meditation on the hidden forces that shape us — an invitation to remember that the true "gong" — the source of resilience, joy, and renewal — resonates not outside of us, but deep within: in the body, in the breath, in the silent space between moments.

The work draws inspiration from the mythological structures of Joseph Campbell, the psychological landscapes of Carl Jung, the existential psychology's exploration of meaning and transformation, the deep poetic imagination of Ursula K. Le Guin, and the ancestral storytelling voice of Clarissa Pinkola Estés, echoing the wild, untamed roots of the human soul.

At the heart of GONG lies the spirit of Mikusano Mitakara —a living tradition that honors the Three Sacred Treasures of human existence: Essence, Energy, and Spirit — the inner foundations of Body, Mind, and Soul. This tradition invites us to reconnect with the natural wisdom flowing within all life —to remember that vitality, clarity, and renewal do not come from external structures, but arise from the deep rivers within the body itself.

For over thirteen years, through the guidance of Iida Shigemi, this understanding has become not only a practice but a way of life for me —a daily path where body, breath, and being are not separated, but woven into a single current of awareness.

GONG emerges from this lived philosophy. It does not seek to impose movement, but to allow it; not to shape stories from outside, but to listen to the silent stories already living within the flesh, the breath, and the heartbeat. While the performance follows a clear and crafted structure, its language remains rooted in bodily expression rather than verbal narrative. The form of GONG is minimalist. Gestures arise from necessity, not from design.

Through this, GONG invites the audience not to observe a spectacle, but to enter an inner landscape: to rediscover the ancient cycles within themselves.