The World Is Dancing
"We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, and engineering are noble pursuits and necessary to sustain life. But poetry, beauty, romance, and love—these are what we stay alive for." This quote from the 1989 film “Dead Poets Society,” delivered by Robin Williams, has always left a lasting impression on me. It frames the many different forms of art in a completely different light, and I cannot agree more with this statement. If you take a moment to reflect upon your own life, you’ll realize just how true it is…
“The World Is Dancing” is a 13-episode TV anime series that aired from the 2nd of July to the 24th of September in Summer 2026. It was produced by Shochiku, Tokyo MX, Toy's Factory, CyberAgent, Cygames, Shochiku Music Publishing, dugout, arma bianca, BS Asahi, and Happinet Media Marketing, licensed by Sentai Filmworks, and brought to life by Studio Cypic. The main staff behind it includes Mizoguchi Kan, Uemura Ryousuke, Kashima Shun, and Itou Azusa as producers. Featuring the drama genre alongside the themes of history and the performing arts, the series targets the Seinen demographic, with a runtime of 23 minutes per episode. It earned a PG-13 rating for teenagers 13 and older.
The anime is based on the manga series of the same title, by author and artist Mihara Kazuto. It ran for a total of 6 volumes from the 25th of March 2021 till the 27th of October 2022 and has thus concluded, having been serialized in Morning. The series was published digitally in English as “The World is Dancing” via Kodansha USA from the 1st of August 2023 to the 27th of August 2024.
Dance is not an essential part of life; it is a performance art practiced voluntarily and experienced by others as recreation. There are people who earn their living through dancing, such as members of performance troupes, but even then, the heart must be there. During the turbulent year of 1374, the Northern and Southern Courts remained locked in seemingly endless conflict, while the Northern Court's shogun, Ashikaga Yoshimitsu, rose to power as an increasingly dominant force.
This is where the tale of Oniyasha begins: the son of Kanami, the head of the Kanze troupe of sarugaku performers. Oniyasha is a youth who drifts aimlessly through his days, with a hazy question lodged in his heart: “Why do people dance?” Because of this, his heart and spirit remained clouded until the fateful day when he finally experienced a dance that could truly be considered "good." Curious, sensitive, and beautiful by nature, he presses on as he meets different people, laughs, cries, and confronts his weaknesses. Amidst all the turbulence, internal and external, he begins to steadily shape a new form of dance meant for a world drowning in impermanence…
Oniyasha’s story begins with a fairly privileged background as the son and successor of the theater company, but his entire worldview is shaken when he sees the reality of poverty and destitution. This shock is essentially what starts his journey, because it pushes him to ask difficult, philosophical questions like “What is good?” and “What do people dance in the first place?" and the show makes a point of asking the audience the very same questions. But then he witnesses a dance that changes everything: a performance so personal, intimate, and awe-inspiring, born of raw emotion and desperation, that it couldn’t be further from the formal dances steeped in theory he was familiar with.
The narrative takes us through his life, from his childhood as he grows and develops, until he finally internalizes a perspective unique to him, even one that clashes with those around him. He becomes a dance revolutionary, someone who embraces modernization while acknowledging the value of traditional art forms and dances as they undergo gradual change and evolution. If art is to endure into the future, it must adapt to newer generations as people's preferences and worldviews shift and evolve. Sometimes it means parting ways with certain aspects of the art and even mixing and matching, but as long as the core remains intact, it is worth protecting. By the end of Oniyasha’s story, it becomes very clear that he and the troupe truly accomplished the extraordinary, paving the way for a new beginning. Side note: apparently this story is based on real-life events, but I’m not sure exactly how accurate it is, because even manga and anime are art forms that have evolved over the years.
This series is character-driven and offers a dramatic look at the history of traditional Japanese performing arts through its characters. Oniyasha faces many setbacks and uncertainties as he comes of age, but that does not stop his blossoming creativity. He is growing alongside his craft, eventually becoming the very reason it looks the way history remembers it. While exploring performance art from its very beginning as it grows, it also follows the stories of multiple characters anchored in the arts and how each of their creative impulses manifests in their minds.
The inspiration could be anything from as mundane as boredom to as tragic as heavy loss, but all of them lead to quite ambitious and groundbreaking ideas. Each prominent character has their own arc and interwoven themes of Japanese history and politics, but the narrative never lets go of the characters’ cores. They do seem a tad removed from the overarching narrative at times, but their personal battles make the screen time count while staying true to the story’s core. “What does it mean for a person to carry on a tradition?” and “How does it influence the art?” are explored via the supporting cast. It’s not simply about victory or defeat for them; it’s about the competition and how it can bring forth different versions of the same art form.
There are constant clashes between the artist’s vision and the crowd’s expectations, but being open to growth is important, and, of course, so is putting bread on the table. As for the antagonists, the young shogun feels pressured to establish his authority and tries to use the theater to control culture. His black-and-white vision restricts the very creativity that allows art to evolve, but he still remains the patron. So nope, he is not one-dimensional, like all impactful characters, holding his own insights and story to tell.
The art and animation department is crafted with precision and care, with a choreographic direction apparent in every set piece and impactful moment. Every backdrop suits the emotional and artistic tone of each scene well, creating a sense of immersion that is difficult to break free from even after each episode ends. The animation is just stunning; I say this knowing just how tough it must be to animate characters dancing with such detailed movements and facial expressions. The motions feel unapologetically raw and fluid, capturing beauty, tragedy, and everything in between simply as they are. I was mesmerized watching these dances, full of pure authenticity, to the point that I found answers to the question, “Why do people dance?” The storyboarding is on point, with just the right atmosphere, and the drama is nothing short of cinematic. The character designs are far more intricate than I was led to believe initially, each reflecting the choices they’ve made and how far they’ve come.
The sounds and music department can be a mixed bag, depending on who you ask. Personally, I liked how they occasionally used modern music in performances rather than traditional music. This was done intentionally because embracing modernization is a core theme, and I found the aesthetic balance just right too. Musical taste varies from person to person, and the show reflects this by showing the characters interacting with various people and theater companies throughout Japan's history. The opening theme is "Shuushou" by Macaroni Empitsu, and the ending theme is "Na mo Nai Hana" by hockrockb, both of which are okay-ish, but the traditional Japanese artwork visuals in the opening are beautiful.
Overall, “World is Dancing” is a unique and beautiful show that brings traditional Japanese dance and its growth to life in the most stunning way possible. There are times when it delves a tad too deeply into technical explanations and Japanese history, which might be a turnoff for people not acquainted with the country and its culture. There are many complex and philosophical themes at play here, providing new perspectives on the performing arts and emphasizing self-expression beyond “it’s just a dance." If you’re willing to experience all the artistic and cultural splendor of historical Japan in any form, I highly recommend this series; I’m sure you’ll be dazzled by the performances along the way.
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