{"id":4649,"date":"2025-12-16T00:41:20","date_gmt":"2025-12-15T15:41:20","guid":{"rendered":"https:\/\/yukilaneige.jp\/?p=4649"},"modified":"2025-12-16T18:41:02","modified_gmt":"2025-12-16T09:41:02","slug":"goingwiththeflow","status":"publish","type":"post","link":"https:\/\/yukilaneige.jp\/en\/2025\/12\/16\/goingwiththeflow\/","title":{"rendered":"Going with the Flow, I\u2019ve Come This Far"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><em>( Translated into English on December 15, 2025 Original Japanese version posted on November 16, 2023)<\/em><br>Before I knew it, this project had grown into something of a grand three-year plan. And yet, it has not felt forced at all\u2014rather, it feels as if everything has unfolded naturally, almost as if guided by a higher power.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I have already written about the background leading up to the first event in <a href=\"https:\/\/acrobat.adobe.com\/id\/urn:aaid:sc:AP:0f6ecc7f-6fcb-4df6-a7c5-3f1d815215ec\">the opening section of the first proposal <\/a>and in <a href=\"https:\/\/yukilaneige.jp\/en\/2025\/12\/16\/rediscoveringfushimi\/\">an earlier post<\/a>, so I will not repeat that here. Instead, I would like to record how the second and third events\u2014and their contents\u2014came to take shape. The process has been led by a series of truly mysterious encounters, and I feel it is worth documenting.<br><br>When the plan for the first event was completed and I posted about it on Facebook, someone saw the content and said:<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"724\" height=\"1024\" src=\"https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=724%2C1024&#038;ssl=1\" alt=\"\" class=\"wp-image-1123\" style=\"width:397px;height:auto\" srcset=\"https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=724%2C1024&amp;ssl=1 724w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=212%2C300&amp;ssl=1 212w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=768%2C1086&amp;ssl=1 768w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=1086%2C1536&amp;ssl=1 1086w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=1448%2C2048&amp;ssl=1 1448w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=1200%2C1697&amp;ssl=1 1200w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?resize=1568%2C2217&amp;ssl=1 1568w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?w=1654&amp;ssl=1 1654w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/10\/La-Neige%E9%80%9A%E4%BF%A1%E5%95%93%E8%9F%84%E3%81%AE%E9%A0%83%E5%8F%B7%E3%81%8B%E3%82%89%E6%8A%BD%E5%87%BA_%E3%83%9A%E3%83%BC%E3%82%B8_1.png?w=1500&amp;ssl=1 1500w\" sizes=\"auto, (max-width: 724px) 100vw, 724px\" \/><\/figure>\n<\/div>\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIf you\u2019re talking about the Sanjikkoku boats, there is also a Yamatogaku piece called&nbsp;<em>Sanjikkoku no Yofune<\/em>!\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">They then shared a video with me.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"750\" height=\"422\" src=\"https:\/\/www.youtube.com\/embed\/9zW12QD5cFw?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">It was wonderfully atmospheric and deeply charming. Yamatogaku and Japanese classical dance are not things we often encounter in everyday life, and I immediately hoped we could invite them. But it would have been impossible to add anything more to the first edition.<br>At the same time, I had long held a dream of presenting the Noh play&nbsp;<em>Kinsatsu<\/em>\u2014set at&nbsp;<strong>Kinsatsug\u016b Shrine<\/strong>&nbsp;here in Fushimi\u2014in Fushimi itself, so that local people could see it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So I began to envision pairing&nbsp;<em>Kinsatsu<\/em>&nbsp;with Yamatogaku dance, and\u2014if possible\u2014having the second edition begin like a \u201cstring of prayer beads,\u201d directly connected to the final rakugo performance of the first edition,&nbsp;<em>Sanjikkoku Yume no Kayoi-ji<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At that time, I still intended to present&nbsp;<em>Kinsatsu<\/em>&nbsp;together with it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meanwhile, when I went to reserve the venue for the February 2024 event, I heard something that stayed with me:<br>\u201cThere is a Sanjikkoku boat song preservation group here in Fushimi. We were thinking of inviting them, but then COVID happened. They were already quite elderly at that point, and it seemed too difficult for them to perform\u2014so I think it may no longer be possible.\u201d<br>So I learned of the existence of a local preservation group, and it weighed on my mind.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">If there is a preservation group in Fushimi, then perhaps, when we perform&nbsp;<em>Sanjikkoku no Yofune<\/em>, could someone also sing the boat song?<br>As I was thinking this, I happened to visit Kinsatsug\u016b Shrine to inform them about the project, and I was told that someone who often rides in the&nbsp;<strong>Hoekago<\/strong>&nbsp;procession sings the Sanjikkoku boat song. I began to wonder what the relationship might be between that person and the preservation group\u2014and I felt a new sense of possibility.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Around that time, I joined a historical fieldwork workshop seminar. At one historical site, the organizer blew a conch shell (<em>horagai<\/em>), and immediately a woman responded with a voice as if echoing it. I was struck. She seemed quite young, yet when participants later shared their motivations, she spoke of having already visited nearly all of the ancient Japanese sites the organizer had photographed over the years. She also said she had grown up listening to Homer\u2019s epics, that she was a singer, and that she had performed at the MIHO MUSEUM.<br>But I had to leave before I could ask her name.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Then, in a way that is unusual for me, I attended a gathering on February 26 around a Kyoto Prefectural Assembly member from Fushimi Ward\u2014partly, I admit, with the ulterior motive \ud83d\ude05 of promoting the event if there were people from Fushimi present.<br>As it turned out, I was seated at a table with wonderful local people from Fushimi, and I handed out the draft flyer. And then\u2014amazingly\u2014someone reacted to the final performance and said:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cMy father is the chairman of the (Sanjikkoku boat song) preservation group.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">I was stunned. \u201cWhat?! Really?!\u201d<br>I explained that I wanted the second edition to feature various performances related to the Sanjikkoku boat songs, together with&nbsp;<em>Kinsatsu<\/em>, and asked if I might speak with her father. Everyone at that table belonged to the same organization, and they warmly said, \u201cWe\u2019ll help promote it\u2014come join us!\u201d So I decided to become a member.<br>At that same gathering, I was deeply impressed by the brilliance of&nbsp;<strong>Fujinomori Taiko<\/strong>, performed by the assembly member herself\u2014an art passed down at Fujinomori Shrine. I instantly thought: \u201cSomeday!\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Still excited, after dinner I happened to turn on the television\u2014and to my astonishment, I saw the piece&nbsp;<strong>Kenbutsu Zaemon: \u201cFukakusa Matsuri\u201d<\/strong>&nbsp;on screen.<br>It is a rare one-person ky\u014dgen piece in which a character named Kenbutsu Zaemon describes the festival of&nbsp;<strong>Fujinomori Shrine<\/strong>\u2014a festival close to me, where friends are parishioners and even serve as leaders of the mikoshi association. At that time, the role was performed by the late Nomura Man, who was over 90 years old, and I learned it is a specialty piece of the&nbsp;<strong>Nomura Manz\u014d family<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The commentator, Nomura Manz\u014d, seemed to have many mutual connections with my friends on social media, and in the very next moment, I found myself thinking, \u201cI must ask them someday!\u201d<br>Coincidentally, I had business in Tokyo around that time. Since it was over a weekend, I looked up whether there might be a ky\u014dgen performance featuring him\u2014and there was. I went, and afterward I made a formal request in writing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I was told they had never actually attended the Fujinomori festival in person. I remember thinking how wonderful it would be if they could come, meet local people, and then perform\u2014almost like a documentary television program. (I still think so even now.)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As these ideas accumulated, I began to feel that it might be better to separate \u201cthe day for the Sanjikkoku boat songs\u201d and \u201cthe day for Noh and ky\u014dgen.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Then, I learned the name of the singer I had met at the historical workshop. And to my surprise, she had released a CD-book titled&nbsp;<strong>Creole Nippon: Traveling Through the Memory of Songs<\/strong>, and the process of collecting and reviving songs had even been featured on television.<br>At that point, I decided: for the second edition, as a \u201cSanjikkoku Boat Song Festival,\u201d I wanted&nbsp;<strong>Mio Matsuda<\/strong>&nbsp;to revive the boat song\u2014faithfully preserving it, yet bringing it back in a compelling contemporary sound.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Around the same time, I visited Kinsatsug\u016b Shrine again and explained that I wanted to separate the boat songs from Noh\/ky\u014dgen, and that Noh\/ky\u014dgen would become the final year, three years later. They kindly agreed.<br>I was then able to meet the former chairman of the boat song preservation group and the current coordinator, who gladly agreed to perform. They also watched Mio\u2019s videos, and agreed that I could approach her.<br><br>When I wrote everything out separately, I realized something remarkable:&nbsp;<strong>2025 is the year of the Osaka Expo<\/strong>, and in preparation for it, the river transport route\u2014currently operating only between Hirakata and Hachikenyahama in Tenmabashi\u2014was said to be progressing toward reopening all the way to&nbsp;<strong>Fushimi<\/strong>. What timing! I hope our event can become a kind of early signal for that revival.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And 2026, I was told, will be the year when the wisteria trellis at Fujinomori Shrine\u2014built through crowdfunding\u2014will be beautifully in bloom. To be able to present&nbsp;<em>Fukakusa Matsuri<\/em>&nbsp;in that year feels equally meaningful.<br><br>Before visiting Kinsatsug\u016b Shrine for the Shink\u014d-sai Festival on May 14, I searched \u201cKinsatsug\u016b Shrine\u201d to review earlier information before posting on social media. And then\u2014again by coincidence\u2014I found a post about a performance of&nbsp;<em>Kinsatsu<\/em>&nbsp;scheduled for July 1 at the H\u014dsh\u014d Noh Theatre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I had never seen&nbsp;<em>Kinsatsu<\/em>&nbsp;before, so I decided I must go. When I invited the shrine priest, he told me that even his son and daughter had never seen it, and we ended up going together.<br><br>In June, I was also able to greet the priest of Fujinomori Shrine. And when we attended the July 1 performance, something extraordinary happened: because I was there together with the Kinsatsug\u016b priest\u2019s family, I was able to greet the head of the H\u014dsh\u014d school\u2014and since Manz\u014d also appeared in the performance, I was able to greet him as well.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And then\u2014what a discovery: while most schools, including the Kanze school, perform&nbsp;<em>Kinsatsu<\/em>&nbsp;as a&nbsp;<strong>half-Noh<\/strong>&nbsp;(<em>han-n\u014d<\/em>), the H\u014dsh\u014d school performs a&nbsp;<strong>full version<\/strong>&nbsp;that includes the first act.<br>And in that first act is precisely what matters most: not only the origin story of why Kinsatsug\u016b Shrine was placed in this land, but even \u201cwhy Fushimi is Fushimi.\u201d It was something I felt Fushimi people absolutely must hear.<br><br>Soon after, with permission from the person I had already asked in the Kanze tradition, I decided to invite the H\u014dsh\u014d school\u2019s&nbsp;<em>Kinsatsu<\/em>&nbsp;to be presented&nbsp;<strong>before<\/strong>&nbsp;the Kanze version, so audiences can compare.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In August, I was finally able to make a formal request to Mio Matsuda regarding the songs. I also decided to ask&nbsp;<strong>Ry\u014d Watanabe<\/strong>, who created the illustrations for the&nbsp;<em>Creole Nippon<\/em>&nbsp;CD-book, to collaborate on the artwork.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From late August, I resumed preparations for establishing the General Incorporated Association\u2014a process that had once begun in July but stalled. On September 20, the articles of incorporation were certified. On October 12, an auspicious day, we submitted the application, and that became our official establishment date. On October 27, the registration procedures were completed. That same day, I applied to open an account with Japan Post Bank, and at night applied to open an account with GMO Aozora Net Bank; the latter was approved by October 30. We are currently waiting for the Japan Post Bank account, which we are told may take about a month.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During this period, I was introduced to a local \u014ckura-school ky\u014dgen performer living in Fushimi-Momoyama, and I was also given a clear path toward resolving something that had long concerned me: the absence of a piece connected to&nbsp;<strong>Gok\u014dnomiya Shrine<\/strong>.<br>As for Fushimi Inari, I expect that the planned display of quilt works\u2014likely to exist by then\u2014will help fill that presence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Now that the association has been established, regardless of whether they can attend in person, I want above all for local children to know that Fushimi is the stage for these arts\u2014and that these traditional performing arts exist. With that goal, we applied for official support from the Kyoto City Board of Education, so we can distribute flyers to elementary and junior high schools in Fushimi Ward. We expect approval soon.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At that point, I created and submitted a three-year income-and-expenditure budget. The third year in particular involves many performers and significant travel and accommodation costs, and the budget will be enormous.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But if we build momentum over three years\u2014so much so that by the time we reach the final Kanze-school&nbsp;<em>Kinsatsu<\/em>, the audience can even chant parts together\u2014then perhaps it can be done.<br>Even Fujinomori Taiko, which I had been tempted to give up on because of the stage requirements and costs, shifted in my mind from \u201cwe can\u2019t\u201d to \u201cwe should make it possible.\u201d<br><br>I first conceived this project on December 15 last year. I went to reserve the venue on December 17. It took nearly a full year to build this initial \u201cframework.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Even for the first event next February, I have not given up on deeper collaboration with the local community. And I hope that in the second and third years, what we could not achieve in the first year will grow from this framework: more performances, original goods, related events, and more. Since we have established an association, I truly hope this can become an event created together with everyone who supports it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thank you very much for your continued encouragement and support.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, I would like to share the text from the first act of the H\u014dsh\u014d-school&nbsp;<em>Kinsatsu<\/em>\u2014written by Naomi Seki, who performed the shite in that production and is also scheduled to do so again in 2026\u2014which is the very reason I felt compelled to invite the H\u014dsh\u014d school.<br><br>Excerpt from the First Act of&nbsp;<em>Kinsatsu<\/em>&nbsp;(H\u014dsh\u014d school)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Now, as for this place called Fushimi\u2014surely you are aware of it.<br>It is none other than the imperial dwelling of Fushimi, and this shrine itself.<br>Ah\u2014how mistaken it would be to think otherwise: \u201cFushimi\u201d is, in truth, a name that embraces all of Japan.<br>For it was the land discovered by the deities Izanagi and Izanami,<br>at the moss-covered key of the Heavenly Rock Cave\u2014<br>thus \u201cFushimi\u201d is the name of this Akitsumikuni, this dragonfly-shaped land.<br>Few know it\u2014neither the name of this country, nor the name of this village of Fushimi:<br>a dream unseen, yet real\u2014whether dream or waking.<br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"750\" height=\"530\" src=\"https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=750%2C530&#038;ssl=1\" alt=\"\" class=\"wp-image-1297\" srcset=\"https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=1024%2C724&amp;ssl=1 1024w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=300%2C212&amp;ssl=1 300w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=768%2C543&amp;ssl=1 768w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=1536%2C1086&amp;ssl=1 1536w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=2048%2C1448&amp;ssl=1 2048w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=1200%2C849&amp;ssl=1 1200w, https:\/\/i0.wp.com\/yukilaneige.jp\/wp-content\/uploads\/2023\/11\/%E9%87%91%E6%9C%AD-%E8%A9%9E%E7%AB%A0_%E3%83%9A%E3%83%BC%E3%82%B8_3-2.jpg?resize=1568%2C1109&amp;ssl=1 1568w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>( Translated into English on December 15, 2025 Original Japanese version posted on November 16, 2023)Before I knew it, this project had grown into something of a grand three-year plan. And yet, it has not felt forced at all\u2014rather, it feels as if everything has unfolded naturally, almost as if guided by a higher power.<a class=\"more-link\" href=\"https:\/\/yukilaneige.jp\/en\/2025\/12\/16\/goingwiththeflow\/\">Continue reading <span class=\"screen-reader-text\">&#8220;Going with the Flow, I\u2019ve Come This Far&#8221;<\/span><\/a><\/p>\n","protected":false},"author":216258550,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_locale":"en_US","_original_post":"https:\/\/yukilaneige.jp\/?p=1285","_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[125061,125133],"tags":[125083,125084,125076,125082],"class_list":["post-4649","post","type-post","status-publish","format-standard","hentry","category-125061","category-125133","tag-125083","tag-125084","tag-125076","tag-125082","en-US","entry"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pdFoIV-1cZ","_links":{"self":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/posts\/4649","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/users\/216258550"}],"replies":[{"embeddable":true,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/comments?post=4649"}],"version-history":[{"count":7,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/posts\/4649\/revisions"}],"predecessor-version":[{"id":4731,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/posts\/4649\/revisions\/4731"}],"wp:attachment":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/media?parent=4649"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/categories?post=4649"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/tags?post=4649"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}