Dance holds a deep and versatile significance for many – it can be a display of cultural and artistic expressions as well as a means to create an emotional, spiritual, and social connection with others. Many artists effortlessly bridge all of these aspects through powerful choreography, whether it’s ballet, contemporary dance, Hip-hop, or ballroom dance, just to name a few.
RIKIMARU is one such multi-talented artist whose journey is quite impressive, starting with an early fascination with dance to eventually becoming a renowned choreographer and, recently, a singer. Having said that, his adventure with dance was far from smooth sailing. Although he wasn’t a natural talent, his relentless practice propelled him forward. His hard work and perseverance remind us all that success often comes from sheer determination.
After years of dancing, choreographing, and teaching, RIKIMARU has added a new skill to his exciting career: singing. His recent single, TALKIN’BOUT, which is also a part of his full-length album, CLOWN & CROWN, was released in the first week of September 2023. The song itself is an important one, not only when it comes to its musical arrangements and choreography but lyrically, too: TALKIN’BOUT addresses the issue of cyberbullying, which has become a prevalent problem around the world.
CLOWN & CROWN consists of twelve songs, with each one depicting a different message. One of the most noteworthy aspects of the aforementioned release is RIKIMARU’s hands-on approach to the entire production process. From the initial pre-production stages to the final completion of the project, he has shown dedication in creating this special album. We recently sat down with the artist and spoke intensively about dance, choreography, his journey towards a career in singing, and his aspiration for the future.
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View of the Arts: You’ve had a remarkable journey as a dancer and choreographer. Can you tell us about your earliest memories of dancing and how it all began?
RIKIMARU: I started dancing because of my admiration for Michael Jackson. My mother [once] showed me one of his dances, and I was fascinated [by it and him]. His dancing was not only technically brilliant but also possessed a charm that was impossible not to imitate. The dance felt like magic and left a lasting impact on anyone who watched it. I’ve always aspired to be that kind of person [like Michael Jackson] who inspired me to start dancing.
[Having said that], I do remember when I first started to dance, I struggled to keep up with others. After every lesson, and while my mum was getting angry with me, I would practice until I could dance better. I wasn’t a natural talent. After a while, I received compliments like, “Ricky is amazing”, but all this was the result of my hard work and dedication. So, when I see people giving up too soon, I often wish they would persevere and try harder.
VOA: You started teaching dance at a young age. How did this experience shape your understanding of dance and teaching others?
RM: As I mentioned earlier, it’s common for many to give up when they encounter significant difficulties. I can relate to this because I initially struggled as well, I just wasn’t good. Teaching others is actually a learning experience for me. It presents a personal challenge to comprehend why [the future dancers, or those who want to learn how to dance] face difficulties and [search for ways] I could assist them. It would be amazing to see if my students could leave each lesson feeling assured in their ability to dance gracefully and confidently.
VOA: Your commercial choreography debut was for BoA’s Lookbook in 2015. Can you share your feelings and memories about this significant milestone in your career?
RM: That marked my debut as a professional choreographer. At that point, I hadn’t really contemplated what style of choreography would resonate with the audience. However, when I first crafted it, Rino Nakasone gave me her seal of approval, which left me quite surprised. It was a nerve-wracking experience, especially since all of BoA’s backup dancers had more experience than I did at the time. Nevertheless, thanks to the exceptional skills of the dancers, my choreography took on an even more impressive quality. [During that process, I realised] that a truly exceptional piece of work requires the excellence of a singer, choreographer, and dancers to shine.
VOA: Your choreography work has extended to artists like SHINee, Taemin, Red Velvet, and NCT127. What approach do you take when creating choreography that suits different musical styles and artists?
RM: I begin by closely studying an artist’s performances to grasp their unique characteristics and appeal. Next, I ensure that the choreography I create differs from his/her/their previous work. My approach involves blending my choreographic style with the artist’s essence while making the most of their individual colours.
VOA: How do you find the balance between staying true to your choreographic style while adapting to the unique traits of each artist you work with?
RM: Honestly, I don’t really think that far ahead. In the beginning, I develop the choreography I have in mind and present it to artists. The choreography I’ve devised essentially becomes their own, so I allow the artists to determine what aspects they like and wish to change. I then add my personal touch to conclude the whole choreography.
VOA: You’ve been a judge in various dance contests, including Dance Vision in China. How does it feel to be on the other side, evaluating dance performances?
RM: As a judge, I understand how they feel because all participants are competing to win. You know, judges tend to choose using their personal preferences; however, I took on board any style of music, whether it be Jazz or Hip-hop, and I mainly focused on the emotions and expressions of the performers. But to be honest with you, being a judge was also a lot of pressure. I felt very responsible for the fact that the score and comments I gave would affect the evaluation of someone’s performance.
VOA: Moving on to your singing career, your recent single, TALKIN’BOUT, has been well-received. What inspired the song, and can you tell us about the creative process behind it?
RM: In today’s world, cyberbullying is widely recognised as a grave concern. I believe that many people have suffered and had their confidence eroded by it. That’s why I chose to address this theme. Initially, after deciding on the song’s theme, I met up with a team of producers in LA, even before having a demo song in hand. They took the time to meet me in person, gaining insight into my style and vibe before we started creating the song.
VOA: Could you tell me more about the choreography for this song? How long did it take you to create it? How did you approach integrating dance into the visual storytelling of the video?
RM: The choreography opens with a scene in which I am seated, aiming to convey the message, “If you have something to gossip about, come talk to me directly!”. In the chorus, I crafted dynamic movements, as if I were swatting away rumours with my hands. The choreography ends with me walking, and it’s my way of saying, “I’m unafraid of whatever they throw my way, so bring it on!”.
VOA: You have just released your full-length album titled CLOWN OR CROWN. Could you tell us more about its musical style and themes?
RM: The album features songs spanning various styles, with each of the twelve tracks telling a unique story, providing a diverse listening experience. In the album’s title, CLOWN OR CROWN, CLOWN and CROWN serve as keywords symbolising “ears” and “eyes”.
The accompanying music videos showcase exceptional creativity, and I hope that those who are drawn to the songs will also indulge in the visual storytelling of the music videos, further deepening their appreciation for the music. To me, music isn’t just about what we hear; I also place great value on the visual elements that engage our eyes.
VOA: While switching between being a choreographer and a singer, how do you manage the different creative mindsets required for these roles?
RM: When I am a choreographer or a dancer, I can communicate well as long as I’m in control of my own body. But when I am an artist, I take great care not only of my body but also of my surroundings.
VOA: Can you walk us through your creative process when choreographing a dance routine? Do you draw inspiration from specific sources or experiences?
RM: It’s like trying to complete a puzzle – I simply listen to the music and use choreography that comes naturally from my body, or I create choreography that matches the theme or ambience of a piece, or I shoot a video of myself and try to match what I think is interesting about the movement with trial and error, or I attempt to fit my moves into any part of the song.
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VOA: From your debut as a choreographer to your current status as a singer and performer, how do you feel you’ve evolved as an artist over the years?
RM: When I’m in the role of a choreographer, I have the freedom to use my favourite styles and enjoy tailoring them to suit an artist. However, when the spotlight turns to me as the main performer, I’ve come to realise that it is challenging to be an artist. Performers can focus on perfecting their dance routines, but artists must also master singing, requiring two types of breathing techniques. While I may have reached a point in my dancing where I can improvise if I make a mistake, singing is much more noticeable to the audience when errors occur.
I believe I’m in the process of evolving as an artist. I’m increasingly mindful of how to harmonise with the supporting dancers and how to immerse myself within a song, rather than solely focusing on shining brightly among the backup performers.
VOA: TALKIN’BOUT has a distinct musical style. How would you describe the overall sound and message of the song to your fans?
RM: The song’s melody predominantly follows a bass-oriented structure, with a departure into a slightly higher and more piercing sound reserved exclusively for the chorus. In the bass section, I included mumbling and whispering to create the feeling of a conversation. The chorus, on the other hand, serves as an embodiment of my inner strength and attitude. To ensure that the strong beat left room for a higher-key vocal delivery, I made a slight adjustment by lowering the key.
VOA: As a multi-talented artist, how do you find the time and energy to excel in both singing and choreography?
RM: The paramount objective is to convey the essence of your message through both your singing voice and your body, allowing for a deeper and more profound expression. I firmly believe that achieving perfection in either aspect alone won’t necessarily result in a truly outstanding performance. I also feel that what’s challenging for artists is the fact that being 100% powerful in dance or singing at the highest key doesn’t automatically equate to being cool or engaging.
The most formidable process lies in adapting the mood and intensity to match each song’s unique genre. I alternate between imagining it in my head and actually doing it, and I practice it every day.
VOA: In addition to creating music and choreography, do you have any aspirations to explore other areas within the entertainment industry?
RM: Eventually, my goal is to produce for others, not just for myself. If you were to ask me whether the choreography I create is exceptional, I might not readily claim it to be so. However, I believe I have a unique ability to critically assess both the strengths and weaknesses of not only my work but also that of others. So, I want to do that kind of production in the future.
Additionally, I would love to challenge myself in acting, provided I can overcome my current challenge of memorising lines. At present, I struggle with accurately reciting sentences as written [laughs].
VOA: Looking ahead, what are your dreams and goals as an artist, and how do you see your journey continuing to evolve in the coming years?
RM: I am still evolving as an artist. I often find it extremely challenging to determine how to captivate the audience. I’ve noticed that the things that come easy tend to lack depth and quickly lose their appeal. While it’s important to gain recognition swiftly, I’m equally committed to maintaining the substance and foundation of my work. Ultimately, I want to inspire people to view and listen to my work, just like the great artists I admire.
Written and interviewed by Maggie Gogler
Featured image courtesy of RIKIMARU
All other images courtesy of RIKIMARU
View of the Arts is a British online publication that chiefly deals with films, music, and art, with an emphasis on the Asian entertainment industry. We are hoping our audience will grow with us as we begin to explore new platforms such as K-pop / K-music, and Asian music in general, and continue to dive into the talented and ever-growing scene of film, music, and arts, worldwide.