This article examines rhythm in the choreographies of Dairakudakan's Muramatsu Takuya using concepts from Henri Lefebvre's rhythmanalysis as a framework. Works analyzed include Dobu (Ditch, 2007), Sonna Tokikoso Warattero (To Laugh at Such a Time, 2008), Ana (Hole, 2009), and Wasureru, Omoidase (Forget, Remember, 2013). The article discusses how rhythm informs overriding themes, performer training, scenographic design, scene transitions, and contrasts between solo and group performance in each piece. Key concepts from Lefebvre's theory used to interpret Muramatsu's work include polyrhythmia, eurhythmia/arrhythmia, dressage, and secret rhythms. In comparing multiple performances, rhythmic similarities emerge in Muramatsu's oeuvre, such as a common rhythmic arc shaping each piece and similar choreographic strategies employed in order to maximize dramatic effects for an audience, often defined through their use of contrast.