Kudo explores what the body communicates to the mind and how to connect the mind to physicality to convey messages beyond words to others. This is partly due to the fact that he has naturally absorbed the philosophical way of thinking about the body that is unique to Japan since childhood. It may be because he has had the experience of having to listen to the body's own language. A Zen-based sense of Buddhism was always around him, even if he was not a believer, and it may have been ingrained in his skin as part of his life. In other words, even if he move his body, it is necessary to always balance it with the improvement of the spirit that exists at the same time.

Kudo first encountered dance at the age of 18, which is not early for most dancers. In order to make up for the delay, Kudo spent time changing the traditional Japanese way of interpreting the body and mind into a Western way. It was essential for her to study abroad in New York and later to work as a professional dancer in Europe.

However, as he grows older, he finds a gap between his identity and the Western way of interpreting it. Kudo once again learns the interpretation of the Japanese body and mind. It all started with his interest in various fields, and began interacting with people in specialised fields such as kobudo (traditional martial arts), calligraphy, sculpture, and bodywork. He has begun to re-understand the connection between the body and the mind, but even so, he will reconfirm the difference in the concept of the existence of performance. Kudo does not use Japanese philosophy or physical expression directly into his performance. But he's rediscovering his body, the mind he's learned, and exploring how he can reflect it in the expressions he needs. Rather than adopting a method of freely manipulating the body according to one's own will, observing through one's own mind that reveals how the body's own memories and reflexes accumulated through past experiences should lead to movement. And constantly it will be a very important balance how to distribute the direction of the energy between the spectators and the performer.

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