When I was 12 in Japan, I decided I would work with Cirque du Soleil. It felt impossible. No network. No path. But years later I made it to Montreal, and since 2009, we started our company and have been working behind the scenes—helping facilitate productions between East and West. Tokyo 2020 Ceremonies.Star Wars Identities.X Games. Creating opportunities for international and Japanese clients Then COVID hit.Around that time we met Mizuki, a Japanese aerial circus artist. Like many performers, all her casting opportunities suddenly disappeared. She was doing everything she had been told would “build an audience”—YouTube, Instagram, TikTok. At the same time, all our projects had stopped too. So we started experimenting. Serge always says something that stuck with me: People are more curious about backstage than the VIP lounge. What if artists shared theprocess, not just the final show? Not polished promo clips—but training, thinking, rehearsing, wandering through the city. At the time, Airbnb had just launchedOnline Experiences, so we tested a similar idea for performing artists. We organized a simple one-hour Zoom session. Mizuki showed how she trains, demonstrated a piece she was working on, and answered questions. We sold60 seats at $20. Here’s the surprising part: Mizuki had95,800 Instagram followers.We didn’t use any of them. Those 60 seats came from ourexisting network—friends, colleagues, people who already trusted us. And the energy in that room was completely different. People didn’t just watch. They asked questions. They stayed. They wanted more. That’s when something clicked for me. For a long time, we’ve treated theshow as the product. But what people really want is tobe part of the creation. The community isn’t just a marketing channel. The communityisthe work. Today we are buildingAttractrbecause I’m still trying to understand how this should work for our field. What challenges are you facing? What actually helps you build a real relationship with your audience? If you’ve ever felt stuck betweenartistic integrity and financial survival, or been told you need a massive audience before anything is possible — you’re not alone. Let’s figure this out together. A full manifesto: If you work in performing arts, do not waste the next 2-3 years waiting for the old model to save you. 👇 Tell me your story in the comments.

I’m looking forward to innovating not only in my creative work, but also in how I connect with my audience on social media.My goal is to deepen that relationship by:Gathering their feedbackMaking them feel part of the projectGuiding them toward experiencing the show live

The Administrative Minimalist Series No.1The modern creator is drowning in "Administrative Debt."In 2024, 47% of workers reported burnout.In creative industries, that number hits 60%.But we aren't burning out from the work.We’re burning out from the maintenance of the work.For performing arts leaders, the weight isn’t the rehearsal room.It’s the inbox.The grant portals.The compliance tracking.The "costume changes" required to fit into rigid funding categories.The Funding Floor is Shifting.During the pandemic, the gates were open.Now, they are narrowing.Grants are being revoked. Eligibility bars are rising.The system assumes you have a full-time grants manager.Most of us don't.I’m currently facing this wall with my company, Akuntsu.We are a service company that start developing a platform - Attractr. A cultural platform. Navigating this requires an expert we can't afford ($250/hr).As a Japanese founder in Montreal, I’m not just learning a program.I’m decoding a cultural framework in two languages.The mental load is unsustainable.The Reframe: Build the Expert You Don't Have.The old way: Drown in portals or go broke hiring consultants.The new way: Build a digital infrastructure that holds your context.I am building aReal-Time AI Grant Agent.Not a bot that "hallucinates" applications.A system that:Scouts:Filters global databases against our specific DNA.Drafts:Scaffolds applications using our mission and past data.Tracks:Manages deadlines and financial reporting in the background.The Administrative Minimalist EthosI am building this in public.Not as a "finished product," but as a working practice.AI is not a substitute for your creativity.It is the collaborator that handles the repetitive, analytical sludge so you can return to the work that matters.The grant portal doesn't deserve your genius.The rehearsal room does.I’m curious about your "Wall."What is the one administrative task stealing your focus?Grant research? Financial tracking? Reporting?Drop it in the comments or join the Workflow Wins section in the forum.I’ll be sharing the full tool stack and architecture in Part 2.Follow along to see what works (and what breaks).