Dancer Shiori Murayama Talks Working in U.S. & Cultural Differences in Dance Community: Billboard Japan Women in Music Interview

Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.

U.S.-based dancer Shiori Murayama spoke with writer Rio Hirai for the latest installment of the series. Murayama started dancing when she was 6 and built her career in the U.S., performing in some of the most prestigious events in today’s entertainment including the Super Bowl halftime show and Coachella. She shared her thoughts on the cultural differences she experienced in the U.S., the challenges she faced as a female dancer, and her dreams for the future.

You started dancing at the age of 6 and moved to the U.S. by yourself after graduating high school. What were some of the differences you felt when you went abroad from Japan?

I was impressed by how friendly and unpretentious everyone was. I started taking classes without knowing much English yet, but my classmates were much more open in sharing praise and telling me what they thought was good, which felt new to me. The atmosphere during classes and even during rehearsals is really relaxed, but when it’s time to run through the routine, they go full out. Obviously I don’t mean to say that dancers in Japan do things halfway, but people here are very focused on the actual performance and put lots of energy in rehearsals.

Would you say that difference in stance is something anyone who has been dancing all their lives in Japan would feel when they go to the U.S.?

Yes. I also feel that there’s less hierarchy in the U.S. I came here on an artist visa in July 2023, so it’s been less than two years. When I got a job and went to the studio, there were some famous dancers that I knew about through the media, but even they would treat me in a friendly manner without making me feel like I was beneath them. There are lots of projects that are short-term, ranging from a week to a month, and even in that short period of time, there’s good teamwork and everyone treats me kindly for the most part. People are just nice.

You’ve performed on some of the most sought-after stages in entertainment, like the Super Bowl halftime show and Coachella. Has it hit you that it’s pretty amazing to have accomplished these feats as a dancer from Japan?

I didn’t really feel it immediately after the performances, but when I received warm messages from everyone and when I watched the videos of my performances, it hit me that I had really done those things.

Are you seeing a trend toward Asians being able to perform on such stages?

I’d say it depends on the artist, but there are many projects that are culturally, racially, and gender mixed these days. Maybe Asian dancers are being hired intentionally because of the current popularity of K-pop in the music industry. I’ve never felt any barriers based on race or gender in the projects I’ve participated in. I suppose there might be instances where an artist goes, “I only want black dancers for this song” or “Only white dancers for this song,” but I feel that the range of activities available to Asian dancers like myself has expanded since I came to the U.S.

Still, it’s true that there are differences in body shape and appearance between Japanese and Americans. When I don’t make the cut, I sometimes wonder, “Maybe I was judged on my appearance?” But there’s a limit to how big I can get by training at the gym, and there’s nothing I can do about the difference in physique I was born with. I try to leverage my strengths that aren’t in that area. 

What do you think are your selling points, as you work in your current environment?

I have very fair skin to begin with, which I take in a good way because it makes it easier to recognize me onstage. And I have very long hair at the moment, so I often get complimented on my hair. People also tell me that my dancing is really powerful. Despite having a thin build, people are often surprised by the power I bring to my performances, and I think that’s one of my key strengths.

How do you think being a woman has affected you?

I believe that the female body has its own unique movements and expressiveness. I’m always trying to explore expression by imagining myself dancing to a song, like, “I could make this part more supple,” or “I could make it more feminine, attractive, and sexy.”

When I performed LISA’s song “Elastigirl” at Coachella recently, the choreography expressed the sexiness and strength of women. I wore heels, and tight clothes from rehearsals to be conscious of the shape of my body, paid attention to the angle of my neck, things like that to present myself and give a performance in a way that only a woman can, in my unique way of expression.

In what ways do you feel that dancing in the U.S. suits you better than back home?

My powerful style works better here. In Japan, women are often appreciated for their flexibility, but since my dance is powerful, I can express the many facets of a woman. I feel that I have more opportunities in the U.S. to showcase my powerful moves and stylish choreography with intricate footwork. Also, Japanese people tend to prefer being like everyone else, but I like that there are many opportunities to express my individuality in the U.S.

Have you ever experienced any setbacks or come up against a wall in your long dancing career?

To be honest, I don’t remember any major setbacks, but I did experience some difficulties. After I completed my dance major in college, I was able to work in the U.S. for a year on OPT (Optional Practical Training, an internship-like visa). Until then, I wasn’t allowed to earn money as a student, so although I had connections with choreographers, I couldn’t work. I saw the people around me getting hired and wanted to be like them.

My dream was to switch to an O1 visa, so when I made it to the final round of an audition I participated in, I was elated, thinking, “If I get this job, I might be able to switch visas.” But in the end, a Japanese dancer who was a good friend got the job and I didn’t. Of course I was happy for my friend, but it was still a shock. The same day, I was scheduled to work as an assistant for a workshop, but was told that I didn’t have to come in because their usual assistant was available. It was quite hard when things like that happened simultaneously.

Some people, when they’re young, can be afraid of making mistakes or hesitate to take on challenges because they think they need to become better at it first. What would you say to encourage someone like that?

The other day, my mother said to me, “You won’t succeed unless you take on challenges” and I totally agree with her. If you like (dancing), I’d like you to have fun doing it before anything else. Of course, you’d need to train to improve your skills if you want to make it your career. Dance is such a deep field and taking hip-hop for example, there are many different styles within that genre. Watch different people, be influenced by them, and challenge yourself as much as possible.

A lot of times, things turn out all right when you take that first step even though you’re afraid to. I’d rather you regret doing something than regret not doing it.

What are some challenges you’d like to take on in the future?

For a long time, I’ve wanted to become a dancer who works on a global scale. I want to participate in a world tour and perform in Japan as well. Also, my family has supported me since I started dancing… no, since I was born, so I want to give back to them through the stage.

—This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan

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