ARTISTS | STAFF

Resonance III

NORA IZUMI BARTOSIK

Pianist

 

Described as a “young talent in a class of her own” (Osterländer Volkszeitung), “marvelous… with elegant grace” (Le Dauphine) and “fully in command of her craft” (Harvard Crimson), pianist Nora Bartosik has performed internationally as a soloist and in chamber ensembles in the United States, Germany, Austria, Bahrain, China, France, Italy, the Netherlands, Portugal, Saudi Arabia, South Korea, Spain, Switzerland and the United Kingdom.

 

She has performed in venues including the Seiji Ozawa Hall at Tanglewood, the Konzerthaus in Berlin, the Gewandhaus in Leipzig, the Gesellschaft für Musiktheater in Vienna, the Théâtre de la Ville in Valence, France, and the Casa da Música in Porto, Portugal. She is the winner of the Concours International de Piano Teresa Llacuna (France, 2013) and the Karl Bergemann Sightreading Competition for Pianists (Germany, 2011) as well as the laureate of 3rd prizes at the Premio Silvio Bengali Val Tidone Music Competition (Italy, 2015) and the International Blüthner Piano Competition (Austria, 2013). She has performed with orchestras including the Philharmonic Orchestra Altenburg-Gera, the Harvard Bach Society Orchestra, the Harvard Mozart Society Orchestra and the Harvard Pops Orchestra. She has worked with conductors including Thomas Ades, Stefan Asbury, Aram Demirjian, Gemma New, Akiko Fujimoto and Thomas Wicklein.

 

Nora Bartosik was invited to perform at the prestigious Tanglewood Festival as a Piano Fellow in the 2018 summer season, where she also appeared in Tanglewood’s Festival of Contemporary Music. She has performed in other international festivals including the Aspen Music Festival and School, the Saoû Chante Mozart Festival in Saoû, France, and the Festival des Nuits d’été in Macon, France. Her interest in chamber music and new music has led her to perform at the HARMOS Chamber Music Festival in Porto, Portugal, the Max Reger Forum in Bremen, with the Ensemble for New Music in Leipzig and as a guest artist at the Festival Baltimore. She has also performed regularly as a collaborative pianist, most recently working with the New Camerata Opera in New York City to produce an evening of American vocal music featuring the poetry of Emily Dickinson and to stage Gian Carlo Menotti’s chamber opera The Medium in its version with piano. Beyond her regular performance activities, she has served on the jury of the 2017 Suffolk Piano Teachers Foundation Piano Competition on Long Island and given recitals in Harvard University’s historic Sanders Theater to benefit afterschool arts programs for children in the Boston area.

 

Nora Bartosik holds a Bachelor of Arts cum laude in Music and German Literature from Harvard University, a Master of Arts and postgraduate diploma in piano performance from the Mozarteum University in Salzburg, and a Konzertexamen (Artist Diploma) degree in solo piano from the Hochschule für Musik und Theater in Leipzig. She also attended the Hochschule für Musik, Theater und Medien in Hannover upon the invitation of noted piano pedagogue Karl-Heinz Kämmerling. She wrote her undergraduate honors thesis on Swiss Appenzeller folk music, and her master’s thesis with distinction on the performance and interpretation of Maurice Ravel’s Valse Nobles et Sentimentales for piano. She was a two-time recipient of the German Academic Exchange Service (DAAD) Fellowship and received scholarships from Yehudi Menuhin Live Music Now Germany.

 

Her primary teachers have included Jacques Rouvier in Salzburg, Karl-Heinz Kämmerling in Hannover, Gerald Fauth in Leipzig, Patricia Zander and Robert Levin in Boston, and Jan Jiracek von Arnim in Vienna. She has also performed in masterclasses with artists including Daniel Barenboim, Emmanuel Ax, Yo-Yo Ma, Leon Fleisher, Dmitri Bashkirov, Garrick Ohlsson, Paul Lewis, Peter Serkin, Paul Badura-Skoda, Boris Berman, Alexander Jenner, Arie Vardi, Yoheved Kaplinsky and Menahem Pressler. Nora Bartosik is currently a candidate for the Doctor of Musical Arts degree in Piano Performance at The Graduate Center, CUNY under the guidance of Professor Ursula Oppens. She is on the faculty at the John J. Cali School of Music at Montclair State University in Montclair, New Jersey.

 

 

MARTHA GRAHAM 1884–1930

Lamentation (1930)

 

Martha Graham (1894-1991) has had a deep and lasting impact on American art and culture. She single-handedly defined contemporary dance as a uniquely American art form, which the nation has in turn shared with the world. Crossing artistic boundaries, she collaborated with and commissioned work from the leading visual artists, musicians, and designers of her day, including sculptor Isamu Noguchi and composers Aaron Copland, Samuel Barber, and Gian Carlo Menotti.

 

Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular, and direct movements of her technique were a dramatic departure from the predominant style of the time.

 

Graham influenced generations of choreographers that included Merce Cunningham, Paul Taylor, and Twyla Tharp, altering the scope of dance. Classical ballet dancers Margot Fonteyn, Rudolf Nureyev, and Mikhail Baryshnikov sought her out to broaden their artistry. Artists of all genres were eager to study and work with Graham—she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson, and Joanne Woodward to utilize their bodies as expressive instruments.

 

During her long and illustrious career, Graham created 181 dance compositions. During the Bicentennial she was granted the United States’ highest civilian honor, The Medal of Freedom. In 1998, TIME Magazine named her the “Dancer of the Century.” The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation. "No artist is ahead of his time,” she said. “He is his time. It is just that the others are behind the time.”

 

 

DORIS HUMPHREY 1895–1958

Two Ecstatic Themes (1931)

 

Humphrey (1895-1958) is renowned for her groundbreaking choreography and her innate sense of musical ability and form. She began her career early, opening her own dance school in Chicago in 1913 at the age of 18. In 1917, she joined the Denishawn School of Dancing and Related Arts in California and began performing in the United States and Asia.

 

Humphrey and fellow dancer Charles Weidman left the Denishawn school in 1928 and started the Humphrey-Weidman Company in New York City. Humphrey developed a new style of dance around the principles of fall and recovery, utilizing the body’s potential to travel between the polarities of balance and imbalance.

 

Central to Humphrey’s approach to dance was her belief in its power to communicate pathos, complexity, and the richness of life through motion and gestures. Her work also reflected current events and concerns, capturing the American spirit.

 

In 1945, arthritis forced Humphrey to retire from performing, so she joined the José Limón Dance Company in New York as its artistic director. There she choreographed the masterpieces "Day on Earth," "Night Spell," and "Ruins and Visions."

 

Her various works reflect her mastery of the intricacies of large groups and emphasis of sculptural shapes.

 

Humphrey's book, The Art of Making Dances, in which she shared her observations and theories on dance and composition, was published after her death and is still used as a guide for fledgling choreographers.

 

 

KONAMI ISHII 1905–1978

Moon Desert ( Early 1930’s)

 

When Konami Ishii was 15, she learned to dance with her brother-in-law Baku Ishii, very important figure in Japanese modern dance, and stepped on the first stage at “Sinking Temple” and “Young Centaur and Nymph” during Baku Ishii’s commemorative tour of Europe in 1922 at the Imperial Theater, Tokyo. At the end of the same year, Baku and Konami performed Japanese Creative Dance in Europe and other countries.

 

In 1926, Baku and Konami visited the US then back to Japan.   She was a member of the Baku Ishii Dance Poetry Institute, and appeared in the works of Baku Ishii with Sai Sho Ki et al.

 

Konami left Baku’s studio,  open the Ishii Konami Dance Research Institute independently in 1955, and later devoted herself to dance education at Jiyugaoka, Tokyo.  Leading dance artsts including Momoko Tani, Yuriko (Yuriko Amemiya (Kikuchi)), Akiko Kanda, Ayako Ishii and Noriko Sato studied at this studio.

 

 

YURIKO KIKUCHI Born 1920

The Cry  (1963)

 

Yuriko Kikuchi – known throughout her entire career solely as Yuriko – is an honoree for this year’s NAAP Gala. She is an American Japanese dancer and choreographer. Born in San Jose, California in 1920, she began her dance training with the Konami Ishii Dance Company in Tokyo in 1930. Yuriko returned to the United States in 1937 where she joined Dorothy Lyndall's Junior Dance Company in Los Angeles. From 1941 to 1943, Yuriko continued to teach dance even as she was interned alongside other Japanese Americans in a World War II relocation camp. In 1943, she moved to New York City and that following year joined the Martha Graham Dance Company where she danced, choreographed, directed, and taught for 50 years (Clytemnestra, Appalachian Spring, Cave of the Heart, Dark Meadow, Primitive Mysteries, coaching generations of dancers including Miki Orihara and Mikhail Baryshnikov). Along with her modern dance credits, Yuriko has also danced in Broadway shows (The King and I, Flower Drum Song), television, and film. For 6 years she performed internationally with her own dance company. She is a recipient of the Guggenheim Fellowship award for choreography (1967), the Bessie Award (1991), an honorary doctorate from Boston Conservatory (2006), and the Martha Hill Dance Fund Lifetime Achievement award (2012).

 

 

SEIKO TAKATA 1895-1978

Mother (1938)

 

Seiko Takata entered Tokyo Music School (now Tokyo University of the Arts). After dropping out of the university, she studied at the imperial theater with the Italian dance/theater/opera director Giovanni Vittorio Rosi. The opera department closed in 1916, and  Rosi opened the Asakusa Royal Hall in October of the same year to perform the opera, Seiko Hara joined with Masao Takada and others. The original surname of the stage name is named after Nobuko Hara.

 

In 1918, 23 years of age, she married Masao Takata and changed her stage name to Seiko Takata. The Royal Hall closed in February 1919. In May of the same year, Rosi left for the US, Shochiku Company opened the Asakusa Opera in Asakusa Park's Six Wards to form the "New Star Kabukidan". Takatas  participates in this. In August 1920, Negishi Yoshinosuke, a third generation Negishi entertainment pulled out Takatas, Kintaro Shimizu, Shizuko Shimizu and Rikizo Taya and Kinsei Hotta from the Royal House to form the "Negishi Kabukidan". On October 11, the same year, they performed a launch performance at the "Kinryukan" run by Negishi. The Asakusa Opera bloomed, centered on the Kinryukan and the Opera.

In 1922, Seiko, with her husband, left for European countries and the United States, and studied dance in various places. Japan was hit by the Great Kanto Earthquake on September 1, 1923, Tokyo, the capital was destroyed, Asakusa six wards collapsed, and the Asakusa opera went to its end. Takatas came back to Japan in 1924 and opened Takata Dance Institute.

Seiko’s husband Masao Takata died at the age of 33 on May 24, 1929. After her husband's death she continued to dance.

 

In October 1939, Seiko was named among the judges of the dance section of the Korean Art Award together with Baku Ishii. Also around this time, she competed for popularity with Ishii's disciple's dancer, Sai Sho Ki.

World War II ended on August 15, 1945, Seiko with Goro Yamada opened the Takata-Yamada Dance Company after the war. When an exhibition of fifteen self-selected contemporary art exhibitions was held in 1950, a former Western-style work "Seiko Takata of Spanish Costume" (production year unknown) drawn by Yoshizaburo Kojima was exhibited.

 

In 1959, Seiko formed the All Japan Art Dance Association (now the Modern Dance Association) and became chairman. In the same year, she was awarded the Purple Ribbon Medal, and in 1970 she was awarded the 4th Order of the Precious Crown. Takaya Eguchi , Tonao Hiraoka, Junko Ozawa , Noriko Ando,Yoko Miki, Nanako Yamada and many other dancers were raised.

 

In 1976, one year after leaving the chairman of the Modern Dance Association and becoming an honorary chairman, she died on March 19, 1977, she was 81 years old.

YASUKO KATAOKA

Lecturer

 

Yasuko Kataoka studied Classical ballet under Tomoko Kurosawa and studied modern dance under Takaya Eguchi, Chizu Shoda and Mariko Sanjo.

After performing on many stages, she started to her solo concert in 1975.  She formed DANCE HOUSE in 1994 and performed nationally and internationally.

 

Kataoka earned a M.A. from Tokyo University of Education and taught at the  Ochanomizu University (Dance Major) for over three decades as  professor and now given a title of Professor Emeritus.  Her professional research areas are ‘History of Dance Art’ and ‘ Dance Education’ in compulsory education system.  She was involved in revising the Course of Study ( 1900, 2000, 2010) and contributed to the realization of dance education in the Education Ministry guideline as Chief of Dance Section.

 

Kataoka is a vice-president for Japanese Society for Dance Research and Board of Japan Association of Physical Education for Women. She worked at Waseda University as a Guest Professor (1997-2010).  She serves as Cultural Affairs Selection Committee, and Executive Committee Chairman of All Japan Dance Festival – KOBE. She was involved for Revised Course of Study and contributed to the realization of compulsory junior high school girls' dance compulsory(1990, 2000, 2010).

 

In 2015, Kataoka published “Pioneer of Japan Contemporary Dance”. She has 9 works in 17 publications and 26 library holdings including “Baku Ishii(1986)”, “Dance and Dance Education(1991)”, “Dance(1992)”, “Study on Women’s Sport(1995)”, “20th Century Choreographer and works(2000)” and “Modern Dance Pioneer in Japan(2015)”.

 

Kataoka received many awards include Matsuyama Ballet Education Award, National Dance Competition Excellence Leader Awards, NHK Award, Japan Athletic Association Achievement Award, Minister of Education Science and Technology Award and JAPEW Chiyoe Matsumoto Award.

NANAKO YAMADA

Master Class

 

A daughter of Goro Yamada, one of the first generation of modern dancer in Japan, Nanako Yamada studied with her father at Goro Yamada Dance Studio since 1938. She also followed her father to study under his Noh teacher Kintaro Sakurama.  She studied with another pioneer of Japanese modern dance, Seiko Takada when her father jointly started Seiko Takada/Goro Yamada Dance Studio after WWII.

 

After winning Japan ‘s National Dance Competition Technique Division and Creation Division in 1961, Nanako Yamada started her solo concert career in 1968 with Sachiko Yoshiwara (poet) and Emi Wada (Academy Award winning designer).

 

In 1979, Yamada formed a dance group with Yoshiwara and Wada. It continues to perform the delicate and brilliant work unique to women and is drawing attention. She collaborated with renowned Japanese musicians such as Takuo Takemoto, Takao Kawase, Junko Honda and Akiko Nishigata. With their live music, she created many works resonated which the sensitivity of Japanese people. Especially her Japanese women series were praised by the press.

Yamada toured in US in 1986, and in Greece in 1989.

 

Yamada received the Takamatsu Award, Minister of Education Award, World Peace Festival International Competition( Silver) and "2005 Eguchi Takaya Award" for her achievement of the artistic premise "Beauty of Remembrance" reached through her long-standing creativity in dance creation.

 

Yamada was featured as a dancer in the movie “Mothra” in 1961. She published “Odoru, Kotobatachiga (Words Dances)” in 2007. She serves as a main judge for Japan’s National Dance Competition and The Nerima Modern Dance Competition. She produces Nanako Yamada Dance Studio recital in Tokyo in August every year.

NORTON OWEN

Lecturer

 

Norton Owen is a curator, writer, and archivist with more than 45 years of professional experience in dance. He has been associated with Jacob’s Pillow Dance Festival since 1976 and has been Director of Preservation since 1990, overseeing the PillowTalks series as well as projects involving documentation, exhibitions, audience engagement, and archival issues.  He is the curator of Jacob’s Pillow Dance Interactive, an acclaimed online video resource that reaches audiences worldwide.  In 2000, Dance/USA selected him for its Ernie Award, honoring “unsung heroes who have led exemplary lives in dance.”  He has also received awards from the Martha Hill Dance Fund, Dance Films Association, and the José Limón Dance Foundation, and he is a past chair of the Dance Heritage Coalition.  In recognition of his 40th anniversary at Jacob’s Pillow, the Norton Owen Reading Room was dedicated in his honor.

MAXINE GLORSKY

Production Stage Manager

 

Maxine Glorsky has been the stage manager for Martha Graham Dance Company, Les Grands Ballets Canadiens, Joyce Trisler Danscompany, Elisa Monte Dance Company, Buglisi/Foreman Dance, Baryshnikov’s White Oak Dance Project, Dance Connecticut, Maria Benitez Teatro Flamenco, Gala Des Etoiles of Montreal, Perridance’s anniversary season and numerous other troupes in the modern, ballet and ethnic disciplines.  She was the co-founder of Tag Foundation (1971-1981) which produced the Dance Umbrella and produced the New York Dance Festival.  Presently, she is the production stage manager for the Lar Lubovitch Dance

Company, and stage manager for Juilliard Dances Repertory.  With the Lincoln Center Library of the Performing Arts, she created two symposiums:  Martha Graham: Steps of a Giant and Alvin Ailey: Tiger, Tiger, Burning Bright. Her commitment to dance, and a career that has spanned over 45 years, were celebrated at the Joyce Theatre in 2000 with A Party for Max. This year Maxine 2019 was awarded a Del Hughes Award for Lifetime Achievement from the Stage Management Association.

mglorsky@gmail.com

YUKI NAKASE

Lighting Designer

 

Yuki Nakase (lighting designer) Recent design credits include The Hartt School Dance Division Fall and Spring Concert (University of Hartford), Theo, The Bridge of San Luis Rey, The Importance of Being Earnest, The Women Of Padilla (Two River Theater), Tiny Beautiful Things (Long Wharf Theatre), Hope (Wild Project), Queen of Basel (Colony Theatre), Octavia (University of Rochester), Blue Window (Columbia Stages/CSC), Apparition (Stony Brook University), Un Yamada’s Kaya (Japan), Chanel Haute Couture Presentations FW 17/18 (Venue57), Circling the Center (3LD), Decoder 2017 (Agnes Varis PAC), No One Asked Me (SoHo Playhouse), Bastards of Strindberg (Theatre Row), Black Milk (East 13th Street Theatre) and The Golem Of Havana (La MaMa).  Next: Triptych: Eyes of One on Another (BAM Howard Gilman Opera House).  She was born in Tokyo, grew up in Kyoto, Japan and currently lives north of NYC in the woods.  B.A. in Dance: JWCPE, M.F.A. in Lighting Design: NYU. 

http://yukinakase.com.

PATRICK SURILLO

Stage Manager

 

A Brooklyn native, Patrick began his theatre journey in LaGuardia Community College where he is now employed as LPAC’s Resident Stage Manager, and the Theatre Department’s Administrative Assistant. Since graduating from Dean College in 2016, Patrick has had many opportunities working as a freelance stage manager in NYC. A few of his credits include: 24-Hour Plays: Broadway (American Airlines Theatre), Holy Name (IRT Theatre), Divo & Diavolo (JCC Manhattan), Two Character Play (Playhouse Creatures), Annual Workshop Performance (School of American Ballet).

TOMOKO MIKANAGI

Film Editor and Director | Promotion Film Edit / Documenting Video

Japanese film maker, graduated from Waseda University in Tokyo. She has been working with a Japanese Film Production “augment5” and freelance works – documentary, dance films, music films, and commercial films. Her collaboration with Miki Orihara started in 2014 at Orihara’s first solo concert, Kyomei-Resonance. She created a film titled “ Japanese Dancer, Miki Orihara” and “RESONANCE”. In 2016, She created a dance film “Broken Memory” with Orihara and Music by Chilean Poet/composer David Rosenmann-Taub was featured at Dance on Camera Festival at Lincoln Center, NYC in 2017.  It will be featured on New York Japan CineFest in June 2017. Her new dance film “Two Women” also with Orihara will premier in Summer 2017.

Http://heyabaji.com/

JULIEN FREI

Translation

 

During college at University of Geneva (Switzerland), Julien started his dance training, taking contemporary, modern and jazz dance classes at Le Studio de Bains and Dance Area. In 2012, former Martha Graham principal dancer Noemi Lapzeson invited him to join Vertical Danse Company. This experience jump-started Julien’s professional dance career, during which he has worked for several Geneva-based companies including Ô Bains Company and Confiture Company. In 2013, Julien decided to further his training in New York City by joining Steps on Broadway’s International Visa Program. Upon graduation in 2015, he has enjoyed performing for New York based companies such as Val Suarez’ Extanded Dance Theater, Gotham Dance Theater (A.D. Marc Andrew Nuñez) and The Next Stage Project (A.D. Jana Hicks and Marijke Eliasberg) and had the privilege to collaborate with Lane Gifford, Artistic Director of LaneCoArts and with Nicole Phillipidis' 277 Dance Project.

Julien’s other passion is Japanese language and culture. In 2010, he received his Master’s Degree in Japanese Studies from University of Geneva. Thereafter, he taught Japanese language at the alma mater and worked as a translator/interpreter.

Amanda Waddell

Translation

 

Amanda Waddell, originally from Houston, Texas, received her Bachelor of Arts degree in East Asian Languages and Cultures and Theatre from the University of Southern California in 2010. After graduation, Ms. Waddell lived and worked in Japan, where she studied directing for two years at Za Koenji Public Theatre’s Creative Theatre Academy. From 2013 until 2017, she was the company manager and a performer in Miss Revolutionary Idol Berserker, a Japanese theatrical troupe, which travelled to ten different countries under her tenure. Ms. Waddell joined Japan Society’s Performing Arts Program in October 2017 as Program Officer, where she works directly with the Society’s Artistic Director on marketing, fundraising and ancillary programming for each season’s programs.

 

Carmen Griffin

LPAC TECHNICAL DIRECTOR

CGRIFFIN@lagcc.cuny.edu

John Deane

PHOTORGAPHY

john@johndeane.com

johndeane.com

 

Tokio Kuniyoshi

PHOTORGAPHY

tokio@shootinglife.net

shootinglife.net

Antonia K.Miranda

DOCUMENTING/VIDEO ARTIST

antonia.k.miranda@gmail.com

 

Juan Zapata

PROMOTION FILM EDIT

jzapatalpac@gmail.com  (LPAC)

Nobue Hirabayashi

WEB / GRAPHIC DESIGN

mtdesign.net

Erico Platt

COSTUME MAKING / WEB DESIGN

erico@manhattantg.com

manhattantg.com

Jacqueline Dugal

PRODUCTION ADVISER / COORDINATOR

jacquimdugal@gmail.com

 

Sumie Yonei

COORDINATOR / REHEARSAL ADVISER

sumieyonei@gmail.com

 

Taeco Ishida

COORDINATOR

info@exroyal.com

Stephen Pier

REHEARSAL DIRECTOR

PierGroup | The Hartt School, University of Hartford

Stephen@piergrp.org

piergrp@gmail.com

Steven Hitt

PRODUCER

LaGuardia Performing Arts Center

stevenh@lagcc.cuny.edu

steven@lpac.nyc

 

The Japan Foundation

https://www.jfny.org

Sierra Kay Powell

Back Stage Assistant for Miki Orihara

Miki Orihara by Tokio Kuniyoshi.jpg
Nora Bartosik by Toni Saynisch.jpg
Nora Izumi Bartosik
Miki Orihara 
Seiko Takata Courtesy Nanako Yamada 1895
Doris Humphrey by Soichi Sunami 1895-195
Seiko Takata
Doris Humphrey
Nanako Yamada by Junichi Ozawa.jpg
Yasuko Kataoka.png
konami Ishii 1905-1978.jpg
Konami Ishii
Martha Graham by Soichi Sunami1884-1991.
Martha Graham
Norton Owen by Bill Wright 2016.jpg
Nanako Yamada
Yasuko Kataoka
Norton Owen
Maxine Glorsky
Maxine Glorsky by CHiara Cadeddu.jpeg
Yuki_Nakase by Yuki Nakase.jpeg
Yuki Nakase
Tomoko Mikanagi.png
Tomoko Mikanagi
Image.jpeg
Julien Frei
Screen Shot 2020-12-26 at 16.33.28.png
Patrick Anthony Surillo
Yuriko Courtesy The Kikuchi Family.jpg
Yuriko

From Top, L to R

Miki Orihara  ©︎ Tokio Kuniyoshi, Nora Izumi Bartosik ©︎ Toni Saynisch, 

Seiko Takata      Courtesy of Nanako Yamada, Doris Humphrey © Soichi Sunami, Courtesy of the Sunami Family, Konami Ishii Courtesy of Noriko Sato, Martha Graham © Soichi Sunami Courtesy of The Sunami Family,  Yuriko Kikuchi  Courtesy of The Kikuchi Family

Nanako Yamada, Yasuko Kataoka, Norton Owen © Bill Wright

Maxine Glorsky ©Chiara Cadeddu, Yuki Nakase ©Yuki Nakase

Tomoko Mikanagi, Julien Frei, Patrick Anthony Surillo

Resonance II

MARTHA GRAHAM

Choreographer: Lamentation (1932)


Martha Graham (1894-1991) has had a deep and lasting impact on American art and culture. She single-handedly de ned contemporary dance as a uniquely American art form, which the nation has in turn shared with the world. Crossing artistic boundaries, she collaborated with and commissioned work from the lead- ing visual artists, musicians, and designers of her day, including sculptor Isamu Noguchi and composers Aaron Copland, Samuel Barber, and Gian Carlo Menotti.

Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular, and direct movements of her technique were a dramatic departure from the predominant style of the time.

Graham influenced generations of choreographers that included Merce Cunningham, Paul Taylor, and Twyla Tharp, altering the scope of dance. Classical ballet dancers Margot Fonteyn, Rudolf Nureyev, and Mikhail Baryshnikov sought her out to broaden their artistry. Artists of all genres were eager to study and work with Graham—she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson, and Joanne Woodward to utilize their bodies as expressive instruments.

During her long and illustrious career, Graham created 181 dance compositions. During the Bicentennial she was granted the United States’ highest civilian honor, The Medal of Freedom. In 1998, TIME Magazine named her the “Dancer of the Century.” The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation. “No artist is ahead of his time,” she said. “He is his time. It is just that the others are behind the time.”

MERCE CUNNINGHAM

Choreographer: Scramble—an excerpted solo (1967)

 

Merce Cunningham (1919–2009) was a leader of the American avant-garde throughout his seventy-year career and is considered one of the most important choreographers of our time. With an artistic career distinguished by constant experimentation and collaboration with groundbreaking artists from every dis- cipline, Cunningham expanded the frontiers of dance and contemporary visual and performing arts. Cunningham’s lifelong passion for innovation also made

him a pioneer in applying new technologies to the arts.
Born in Centralia, Washington on April 16, 1919, Cunningham began his professional dance career at 20 with a six-year tenure as a soloist in the Martha Graham Dance Company. In 1944 he presented his first solo show and in 1953 formed the Merce Cunningham Dance Company as a forum to explore his groundbreaking ideas. Together with John Cage, his partner in life and work, Cunningham pro-

posed a number of radical innovations, chief among them that dance and music may occur in the same time and space, but could be created independently of one another. They also made extensive use of chance procedures, abandoning musical forms, narrative, and other conventional elements of dance composition. For Cunningham the subject of his dances was always dance itself.

An active choreographer and mentor to the arts world throughout his life, Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts (1990), the MacArthur Fellowship (1985), Japan’s Praemium Imperiale (2005), and the British Laurence Olivier Award (1985). Always forward-thinking, Cunningham established the Merce Cunningham Trust in 2000 and developed the precedent-setting Legacy Plan prior to his death, to ensure the preservation of his artistic legacy.

LAR LUBOVITCH

Choreographer: North Star, 3rd Movement (1978)


LAR LUBOVITCH trained at The Juilliard School and founded the Lar Lubovitch Dance Company in NYC in 1968. Now celebrating its 49th season, it has gained an international reputation as one of America’s top dance companies. His works are also included in the repertoires of major dance companies throughout the world. Othello - A Dance in Three Acts, created for American Ballet Theatre and San Francisco Ballet, appeared on PBS’s “Great Performances” (Emmy nomination). Film and television dances include Fandango (International Emmy), My Funny Valentine for Robert Altman’s lm The Company (American Choreography Award nomination) and, Concerto Six Twenty-two and North Star for BBC. Lubovitch has also made a notable contribution to the advancement of ice-dancing with pieces for numerous Olympic skaters, as well as ice-dance specials for television: The Sleeping Beauty (PBS), The Planets (A&E) (International Emmy nomination, Cable Ace Award, Grammy Award). His work on Broadway included Into the Woods (Tony nomination), The Red Shoes (Astaire Award) and Tony Award- winning revival of The King and I.

In 2007, Lubovitch founded the Chicago Dancing Festival, in collaboration with the City of Chicago, and the Museum of Contemporary Art, which included performances by leading American dance companies. The festival reached over 18,000 people annually and was completely free to the public.

In 2016, he premiered a new dance based on the Pushkin poem, The Bronze Horseman, at the Mikhailovsky Ballet in St. Petersburg, Russia. He is currently a Distinguished Professor of Dance at the University of California-Irvine. Recent awards include: 2007, Chicagoan of the Year (Chicago Tribune); 2008, Chicagoan of the Year (Chicago Magazine); 2011, Ford Fellow (US Artists); 2011, Dance/USA Honors Award; 2012, Prix Benois de la Danse for Choreography, Bolshoi Theatre, Moscow; 2013, American Dance Guild Lifetime Achievement Award; 2014, Honorary Doctorate from The Juilliard School; 2015, named one of America’s Irreplaceable Dance Treasures by the Dance Heritage Coalition; 2016, ADF Scripps Award for Lifetime Achievement; 2016 Dance Magazine Award.

Lar Lubovitch Dance Company 

TANROH ISHIDA

Choreographer: SHIRABYOSHI

 

Tanroh Ishida is a London / Tokyo based Japanese actor. Tanroh started training in Japanese Traditional Noh/Kyogen Theatre at the age of three. He was taught by his father and a Kyogen master Mansaku Nomura (now Japan’s National Living Treasure) during this period.

With his theatre company he performed at a number of theatres nationally and internationally; including the Carnegie Hall and Shakespeare’s Globe.

At the age of 15 Tanroh became interested in learning about the western style of theatre.

He moved to England to study and audition for drama schools. He was accept- ed at the prestigious Guildhall School of Music and Drama.

After graduating from Guildhall, Tanroh has appeared in a variety of features, such as ‘47 Ronin’ alongside Keanu Reeves, the Coen Brother’s ‘Gambit’, ‘The Jour- ney is the Destination’, ‘The Windmill Massacre” and a leading role alongside Jer- emy Irvine and Colin Firth in ‘The Railway Man’.

In order to explore his rare experiences as an actor, having had the unique priv- ilege of classical training in both the East and West, Tanroh formed his own the- atre company Tea Leaf Theatre. During this time, he also co-directed an dramatic improvisation company The Improsarios. He was also Artistic Director for a San Francisco based Japanese theatre company Theatre of Yugen.

His directorial work includes: ‘Kyogen Raw and Uncooked’ which received criti- cal acclaim of 5 star reviews at the Edinburgh Fringe Festival.

As a theatre practitioner, he has taught lecture / workshop on Japanese tradi- tional theatre for international academic institutes such as University of Oxford and University of Hartford (US). He is currently on the special advisory board for Japanese government’s new cultural centre in London ‘Japan House’.

CHARLOTTE GRIFFIN

Choreographer:13Illustrations Out of Order

 

Charlotte Gri n creates work for live performance, screendance, and mul- timedia environments. Her concert repertory has been commissioned by The Cambrians, The Juilliard School, The Hartt School Dance Division, The American Dance Festival, BJM Danse in Montreal and more. She has created ballets at The New York Choreographic Institute with New York City Ballet, American Ballet The- atre Summer Intensive in Austin, and for Eliot Feld’s Ballet Tech Kids Dance. Her choreography for theater includes Bum Phillips All-American Opera with Monk Parrots, Frances Ya-Chu Cowhig’s 410[Gone], and The Woman in the Attic with Archipelago Theatre. She has received residences at Lux Boreal Contemporary Dance Company, ArcDanz, Springboard Danse Montreal, The Yard, Cayman Island Arts Festival, and the Bates Dance Festival. Her award-winning dance lms, Bare- foot Negotiations (2009) and Raven Study (2007), have screened internationally and continue to inform her interest in choreo-cinematic form. Charlotte received her BFA in Dance from The Juilliard School under the direction of Mr. Benjamin Harkarvy and an MFA from The University of Texas at Austin. She is originally from North Carolina and resides in California where she is an Assistant Professor of

Dance at UC Irvine.

SENRI OE

Pianist and Music Composer for 13Illustrations Out of Order


The Best selling Sony Music recording artist , Senri Oe’s international debut all-jazz album, “Boys Mature Slow,”(PND Records, peaceneverdie.com)in July 2012 has generated many rave reviews from the top music magazines including “Jazziz”,” Down Beat” in NYC.

After its release in Japan Sep.2012 ( Distributer :Village Music), this “Boys Ma- ture Slow” got “The Album of the Year: new star(Nissan presents “ Jazz Japan “ Awards 2012).

Oe has been active and in uential in Japanese music scene as a lyricist, composer and arranger since he debuted in 1983. He extended his talent in the TV and lm industry, and went on ourishing as an actor and TV personality as well.

Major awards he won are Japan Gold Disc Grand Prix: Best Male Pop Artist 1988 and FNS Pop Music Award: Best song of the Year 1989.

In Jan.2008, Oe decided to pause his 25 year-long careers in popular music for pursuing jazz and moved to New York studying under Aaron Goldberg, Junior Mance..... Oe graduated from The New School for Jazz and Contemporary Music in May 2012.

Oe is mainly performing at Tomi Jazz monthly. He is also appearing at jazz clubs and venues throughout NYC, Zinc Bar,S OB, Blue Note, NY City Winery.......

Oe’s 2nd album” Spooky Hotel” (distributed by Village Music) went to the top in the Billboard Japan Jazz Charts and he performed at Tokyo Jazz Festival 2013 (at To- kyo international forum Hall A) with Oe’s big band from NYC and Sheila Jordan(his jazz icon). Oe is now producing some albums of not only for his own jazz project but also some talented other artists in NYC.

Finally, Oe has just completed his 4th album with Sheila Jordan,

Jon Hendricks, Lauren Kinhan(New York Voices), Theo Bleckmann and Becca Ste- vens. It was released on July 5th.2016 all over the world.

Meanwhile, Oe is touring as a accompanist Miki Orihara’s “Resonance” show in All Over the World (NYC, San Francisco, Wisconsin, Mexico, Brazil, Amsterdam, Japan.

www.peaceneverdie.com / Contact: info@peaceneverdies.com

MAXINE GLORSKY

Production Stage Manager

Glorsky has been the stage manager for Martha Graham Dance Company, Les Grands Ballets Canadiens, Joyce Trisler Danscompany, Elisa Monte Dance Compa- ny, Buglisi/ Foreman Dance, Baryshnikov’s White Oak Dance Project, Dance Con- necticut, Maria Benitez Teatro Flamenco, Gala Des Etoiles of Montreal, Peridance’s anniversary season and numerous other troupes in the modern, ballet and ethnic disciplines. She was the co-founder of Tag Foundation (1971-1981) which produced the Dance Umbrella and produced the New York Dance Festival. Currently, she is the production stage manager for the Lubovitch Company since 1970, and stage manager for Juilliard Dances Repertory since 1998. With the Lincoln Center Library of the Performing Arts, she created two symposiums: “Martha Graham: Steps of a Giant” and “Alvin Ailey: Tiger, Tiger, Burning Bright.” Her commitment to dance, and a career that has spanned over 50 years, were celebrated at The Joyce Theater in 2000 with “A Party for Max.”

KAREN YOUNG

Costume Design for 13Illustrations Out of Order


Karen Young has designed costumes for numerous dance and video art projects and has recently been teaching at the Rhode Island School of Design. Her de- sign work for dance can be seen in the repertoires of the Martha Graham Dance Company, Morphoses, American Ballet Theater, Kyle Abraham, Armitage Gone! Dance, Dusan Tynek, Pam Tanowitz, Brian Brooks, and Rioult among many oth- ers. She has collaborated with many renowned video artists, including designing costumes for David Michalek’s “Slow Dancing” and “Portraits in Dramatic Time” at Lincoln Center Festival, Matthew Barney’s “Cremaster 5” and “Cremaster 1”, and Eve Sussman’s “89 Seconds at Alcazar” and “The Rape of the Sabine Women”. Re- cent projects include: the new o -Broadway show “Fighting Gravity”, Third Rail Projects Bessie Award winning immersive show “Then She Fell”, and Wendy Whel- an’s new production “Restless Creature” with choreographers Alejandro Cerrudo, Josh Beamish, Brian Brooks, and Kyle Abraham.
www.karenyoungcostume.com

CHRISTOPHER WESTON

Lighting Designer


In NYC, Christopher Weston’s work has been seen at the Signature, Kitchen, Alvin Ailey, 59E59, LaGuardia Performing Arts Center, Tribeca Performing Arts Center, Cherry Lane, St. Clement’s, the Kitchen, 3LD, Abingdon, Barrow Group, Dixon Place, HERE and many more. Regional theatres include the Hangar Theatre, Pen- guin Rep, NJ Rep, Actors Shakespeare Company. Internationally, his work was seen at the European Biennial in Athens, Greece. He has an MFA in Lighting De- sign from NYU’s Tisch School of the Arts and a BFA in Performance Studies from the University of Illinois at Urbana-Champaign. In addition to lighting theater, dance and opera, Chris has designed for interiors, architecture, fundraisers, wed- dings and other events. He is an Adjunct Assistant Professor of Theatre at LaGuar- dia Community College and a Teaching Artist for Roundabout Theatre Company.

www.chriswestondesign.com

TOMOKO MIKANAGI

Film Editor and Director | Promotion film 


Japanese Film maker, graduated from Waseda University in Tokyo. She has been working with the Japanese Film Production “augment5” and freelance works— documentary, dance lms, music lms, and commercial lms. Her collaboration with Miki Orihara started in 2014 at Orihara’s rst solo concert, Kyomei-Reso- nance. She created the lms “Japanese Dancer, Miki Orihara” and “RESONANCE”. In 2016, She created the dance lm “Broken Memory” with Orihara with music by Chilean Poet/composer David Rosenmann-Taub commissioned by the CORDA Foundation and featured at Dance on Camera Festival at Lincoln Center, NYC in 2017. It will be featured in the New York Japan CineFest in June 2017. Her new dance lm “Two Women”, also with Orihara, will premier in Summer 2017.

http://heyabaji.com/

JOHN DEANE

PHOTOGRAPHY

john@johndeane.com | www.Johndeane.com

NOBUE HIRABAYASHI

WEB DESIGN / GRAPHIC DESIGN

mail@mtdesign.net | www.mtdesign.net

JUAN ZAPATA 

PROMOTION FILM 

jzapatalpac@gmail.com (LPAC)

ANASTASIA MARCEDES

MANAGING ASSISTANT

annastasiamercedes@gmail.com

SUMIE YONEI

PRODUCTION ADVISER/ COORDINATOR

sumieyonei@gmail.com

 

TAECO ISHIDA

PRODUCTION COORDINATOR

info@exroyal.com

ANTONIA MIRANDA

DOCUMENTING VIDEO ARTIST

antonia.k.miranda@gmail.com

STEPHEN PIER

REHEARSAL DIRECTOR

Pier Group Dance, University of Hartford- The Hartt School

Stephen@piergrp.org | pier@hartford.edu

STEVEN HITT

PRODUCER

LaGuardia Performing Arts Center

stevenh@lagcc.cuny.edu | steven@lpac.nyc

 

 

RESONANCE ー共鳴

MARTHA GRAHAM

Choreographer: Satyric Festival Song: 1932

 

Martha Graham’s revolutionary vision and artistic mastery has had a deep and lasting impact on American art and culture. Her bold use of socially infused subjects and emotionally charged performances single-handedly defined contemporary dance as a uniquely American art form, which the nation has in turn shared with the world.

 

Graham’s creativity crossed artistic boundaries and embraced every artistic genre. She collaborated with and commissioned work from the leading visual artists, musicians, and designers of her day, including sculptor Isamu Noguchi and fashion designers Halston, Donna Karan, and Calvin Klein, as well as composers Aaron Copland, Samuel Barber, William Schuman, Norman Dello Joio, and Gian Carlo Menotti.

 

Influencing generations of choreographers and dancers including Merce Cunningham, Paul Taylor, and Twyla Tharp, Graham forever altered the scope of dance. Classical ballet dancers Margot Fonteyn, Rudolf Nureyev, and Mikhail Baryshnikov sought her out to broaden their artistry, and artists of all genres were eager to study and work with Graham—she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson, and Joanne Woodward to utilize their bodies as expressive instruments.

 

Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular, and direct movements of her technique were a dramatic departure from the predominant style of the time.

 

With an artistic practice deeply ingrained in the rhythm of American life and the struggles of the individual, Graham brought a distinctly American sensibility to every theme she explored. “A dance reveals the spirit of the country in which it takes root. No sooner does it fail to do this than it loses its integrity and significance,” she wrote in the 1937 essay A Platform for the American Dance.

 

Consistently infused with social, political, psychological, and sexual themes, Graham’s choreography is timeless, connecting with audiences past and present. Works such as Revolt (1927), Immigrant: Steerage, Strike (1928), and Chronicle (1936)—created the same year she turned down Hitler’s invitation to perform at the International Arts Festival organized in conjunction with the Olympic Games in Berlin—personify Graham’s commitment to addressing challenging contemporary issues and distinguish her as a conscientious and politically powerful artist.

 

Martha Graham remained a strong advocate of the individual throughout her career, creating works such as Deaths and Entrances (1943), Appalachian Spring (1944), Dark Meadow (1946), and Errand into the Maze (1947) to explore human and societal complexities. The innovative choreography and visual imagery of American Document (1938) exemplified Graham’s genius. The dramatic narrative, which included the Company’s first male dancer, explored the concept of what it means to be American. Through the representation of important American cultural groups such as Native Americans, African-Americans, and Puritans and the integration of text from historical American documents, Graham was able to capture the soul of the American people.

 

During her long and illustrious career, Graham created 181 masterpiece dance compositions, which continue to challenge and inspire generations of performers and audiences. In 1986, she was given the Local One Centennial Award for dance by her theater colleagues, awarded only once every 100 years, and during the Bicentennial she was granted the United States’ highest civilian honor, The Medal of Freedom. In 1998, TIME Magazine named her the “Dancer of the Century.” The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation and expanded the boundaries of contemporary dance. “I have spent all my life with dance and being a dancer,” she said. “It’s permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.”

 

 

JOSE LIMON

Choreographer: Maenad from Dances for Isadora: 1972

 

José Limón (1908-1972) was a crucial figure in the development of modern dance: his powerful dancing shifted perceptions of the male dancer, while his choreography continues to bring a dramatic vision of dance to audiences around the world. Born in Mexico, Limón moved to New York City in 1928 after a year at UCLA as an art major. It was here that he saw his first dance program:

 

“What I saw simply and irrevocably changed my life. I saw the dance as a vision of ineffable power. A man could, with dignity and towering majesty, dance… dance as Michelangelo’s visions dance and as the music of Bach dances.”

 

In 1946, after studying and performing for 10 years with Doris Humphrey and Charles Weidman, he established his own company with Humphrey as Artistic Director. During her tenure, Humphrey choreographed many pieces for the Limón Dance Company, and it was under her experienced directorial eye that Limón created his signature dance, The Moor’s Pavane (1949). Limón’s choreographic works were quickly recognized as masterpieces and the Company itself became a landmark of American dance. Many of his dances—There is a Time, Missa Brevis, Psalm, The Winged—are considered classics of modern dance.

 

Limón was a consistently productive choreographer until his death in 1972—he choreographed at least one new piece each year—and he was also an influential teacher and advocate for modern dance. He was in residence each summer at the American Dance Festival, a key faculty member in The Juilliard School’s Dance Division beginning in 1953, and the director of Lincoln Center’s American Dance Theatre from 1964-65. Limón received two Dance Magazine Awards, the Capezio Award and honorary doctorates from four universities in recognition of his achievements. He was the subject of a major retrospective exhibition at the New York Public Library for the Performing Arts, The Dance Heroes of José Limón (Fall 1996), and in 1997 he was inducted into the Hall of Fame at the National Museum of Dance in Saratoga Springs, NY. His autobiographical writings, An Unfinished Memoir, were edited by Lynn Garafola and published in 1999 by Wesleyan University Press.

 

 

MARTHA CLARKE

Choreographer: Nocturne: 1979

A founding member for Pilobolus Dance Theater and Crowsnest, Martha Clarke has choreographed for the Nederlans Dans Theater, The Joffrey Ballet, American Ballet Theater, and Rambert Dance Company among many others.

 

As a director Ms. Clarke’s many original productions include Belle Epoque, recently at Lincoln Center, The Garden of Earthy Delights, Vienna: Lushaus Revisited at New York Theater Workshop. She directed the premiere of Chhristpher Hampton’s Alice’s Adventures Underground at the Royal National Theater in London and  A Midsummer Night’s Dream for the American Repertory Theater. In opera Ms. Clarke has directed The Magic Flute and Cosi Fan Tutte for the Glimmerglass Opera, Tan Dun’s Marco Polo for the Munich Biennale, the Hong-Kong Festival, and New York City Opera, and Gluck’s Orfeo and Euridice for the EnglishNational Opera and the New York City Opera.

 

Ms. Clarke is the recipient of a MacArthur ”genius” Award and grants from the NEA and Guggenheim Foundation.

 

 

ADAM BARRUCH

Choreographer: New Creation: 2014

 

Adam Barruch began his career as a young actor, performing professionally on Broadway and in film and television--working with prominent figures such as Tony Bennett, Jerry Herman and Susan Stroman. He later received dance training at LaGuardia High School for Music & Art and Performing Arts. After three years, he graduated early and was accepted into the dance department at The Juilliard School. As a dancer he has performed the works of Jiri Kylian, Ohad Naharin, Susan Marshall, Jose Limon, Daniele Dèsnoyers, and is currently a dancer with Sylvain Émard Danse in Montreal. In April 2013, he performed in Eysines, France for the premiere of Sylvain's newest creation, Ce N'est Pas La Fin du Monde.

 

As a choreographer, Adam's work has been presented at venues such as Dance Theater Workshop (now New York Live Arts), City Center, NYU/ Skirball Center for the Performing Arts, The Juilliard School, The Ailey-Citigroup Theater, SUNY Purchase, New York University, Cedar Lake Theater and Theatre Usine C in Montreal. In March 2009, he self-produced a full evening of original dance/theater works at The Baryshnikov Arts Center, premiering his company Adam Barruch Dance.

 

Adam was selected as an Emerging Collaborator for Springboard Danse in Montreal in 2009. Adam was also selected as a Movement and Dance Artist-in-Residence at the Stella Adler Acting Studio, where he collaborated with solo-performance artist Lauren Marie Albert.  In 2011, Adam created a solo work on Canadian dance icon Margie Gillis, which premiered at Dance Theater Workshop. In the summer of 2011, Adam Barruch Dance performed on the Inside/Out stage at Jacob’s Pillow, and at the Harris Theater during the Chicago Dancing Festival. Adam Barruch was selected as a participant in the 2011 Alvin Ailey Dance Foundation New Directions Choreography Lab made possible by generous support from the Ford Foundation.

 

Adam served as a guest choreographer at Princeton University, creating a new work for their 2012 Spring Dance Festival. In 2012, Adam was at Bates Dance Festival creating new work as part of their Emerging Choreographer's Residency and also worked with collaborator Chelsea Bonosky at The Yard, in Martha's Vineyard as part of the Bessie Schönberg Residency.

 

Adam created a new work, I Close My Eyes Until the End for River North Dance Chicago which premiered in November 2012, as well as setting his signature solo The Worst Pies in London on the company for their Fall 2013 Season.

 

In February 2013, Adam Barruch's short-film collaboration with filmmaker Nel Shelby, Folie a Deux, was screened at the Dance On Camera Festival in Lincoln Center. In June, Adam performed a full-length evening solo work, My Name is Barbra ADAM, at Joe's Pub commissioned by DanceNOW NYC, and was a recipient of a Late Stage Production Stipend from the Mertz Gilmore Foundation.

 

This past summer he taught technique and repertory for the BODYTRAFFIC Summer Intensive, and created a new work for Ailey II, Alchemies. This fall he created a new work for the Junior Class at Boston Conservatory. Recently he created If the heart runs, for BalletX in Philadelphia and traveled to Japan to create two music videos for the musical act mishmash*, the brain child of Toyoaki Mishima and masuyama.com.

 

 

SENRI OE

Jazz Pianist, Composer/Composer for Adam Barruch

 

The Bestselling SONY Music recording artist, Senti Oe’s  international debut all-jazz album, “Boys Mature Slow,”(PND Records) in July 2012 has generated many rave reviews from the top music magazines including “Jazziz”. “Down Beat” in NYC.After its release in Japan September 2012 (SONY Records), this “Boys Mature Slow” got “The Album Of The Year: new star(Nissan presents “Jazz Japan” Awards 2012).

 

Oe has been active and influential in Japanese music scene as a lyricist, composer and arranger since he debuted in 1983.He extended his talent in the TV and film industry and went on flourishing as an actor and TV personality as well. Major awards he won are Japan Gold Disc Grand Prix: Best Male Pop Artist

1988 and FNS Pop Music Award: Best Song of the Year 1989.

 

In January 2008, Oe decided to pause his 25 year-long careers in popular music for pursuing jazz and moved to New York studying under Junior Mance, Aaron Goldberg. Oe graduated from the New School for Jazz and Contemporary Music in May 2012.

 

Oe is now appearing at jazz clubs thoughout NYC and surrounding east coast areas such as Tomi Jazz, Zinc Bar, SOB, Blue Note, NY City Winary, Domain wine bar(Long Islnad City) along with Japan tour at Tokyo Blue Note and Nagoya Blue Note.

 

Moreover, his 2nd Jazz Album “Spooky Hotel”went to the top in the Billboard Japan Jazz Charts and he performed at Tokyo Jazz Festival 2013 again with his big band and special vocalists, Sheila Jordan and Matt Dusk.

 

 

MICA NOZAWA

Composer: Music for Miki Orihara’s New Work

 

One of her talents that has made her such a young successful composer is her uniquely interactive approach to music. She studied composition under Yoshiro Irino. While at the Kinitachi College of Music, she formed the composers' group. Throughout her career she has been consistently interested in collaborating with other artists, and has participated in a wide range of venues and exhibitions in which to present her work. She received The New Artist Prize from the Japan Contemporary Music Association for “Outside-Inside” for two percussionists in 1986. In 1988 she received a grant from Asian cultural Council for studying in New York City. During this year her composition was featured in the drama “Sino-odyssey” at La Mama Theater in New York City.

 

She was invited to perform her piano solo improvisation series “Slow Farewell” by the Urbane Aboriginale (Germany), the Contemporary Performing Arts Festival at Het Apollohuis (Holland), and the MANCA Festival (France).

 

Her work has crossed into the visual arts, film, and digital media. In 1991 she was in charge of project development, staging, and composition for the special slide exhibition “Contemporary Women Photographers’ Self-Portraits — Facing the Unknown, That is, Myself” held by the Tokyo Photographic Arts Museum. She composed the soundtrack for “Usuzumi no miyako” (“In Light in Tones”), directed by Isao Yamada for the Image-forum Film Festival. She also composed “Zainichi —Korean in Japan 50 years since the war,” and “Sinzai no Satujin” (“Existence and Murder”) directed by Japanese conceptual monoha-artist Kishio Suga and presented by Yokohama Art Museum.

 

In 1998 she participated in the experimental film festival Neo Avant-garde Film in a discussion with film directer Jun Kurosawa. Her commissioned works include “Kare to Kare” (“He, and He”) for shakuhachi solo at FM Hall (1993), “Innocent” which premiered at the 1996 Edinburgh Dance Festival, as well as works for the Hong Kong Dance Company.

 

In 2000, “Tuning with John” was awarded the second prize in the International Composition Competition (marking the 250th anniversary of the death of J.S.Bach)Ms.Nozawa was one of 6 composers presented by Music From Japan in 2002, also received a Civitella Rainieri fellowship in 2005 to attend summer residency in Italy.

 

 

JANIS IAN

Composer/Song-writer: Music for Miki Orihara’s Work- Prelude

 

In her fifth decade of writing songs and performing, Janis Ian won her second Grammy Award of 9 total nominations over the years in 8 categories! Her 2013 Grammy, presented at the 55th Annual Grammy Awards ceremony, is for Best Spoken Word Album for her audio book "Society's Child” (Audible.com). She had stiff competition President Bill Clinton, First Lady Michelle Obama, Rachel Maddow and Ellen DeGeneres. Janis’ audio book was produced by Grammy Award winner Stefan Rudnicki, producer of over 1,000 audio books, who has also been honored with Grammy nominations, Audie Awards and AudioFile Earphones Awards. Like most everything she does, “We did the entire thing live, including the singing and playing. No edits, no overdubs, no recording studio.” When she won, she sincerely considered it to be a “stunning upset.” With her inimitable sense of humor, she went on to say "There must be a joke in here somewhere. An ex-president, a First Lady and three lesbians go into a bar..."

 

On a more serious note, she said, "We artists are the last alchemists, pulling your dreams, your hopes, your deepest desires out of thin air, and turning them into something you can hear, and play, and sing. My first Grammy nomination came when I was 15 years old. For better and for worse, I have watched my business become an industry but one thing will never change. We don't sell music. We sell dreams."

 

Janis Ian began her mostly stellar, sometimes stormy, professional life at the age of 12 when she wrote her first song and was published by Broadside Magazine. That led to her first “real” show, at New York’s venerable Village Gate, where she shared a stage with Tom Paxton(with whom she recently toured the east coast of the U.S.), Lou Gossett Jr., Judy Collins, Phil Ochs, and a host of other singer-songwriters.

 

At 14, she wrote "Society's Child,” the name of her self-penned autobiography (Tarcher/Penguin). Kathy Mattea describes the book this way, “After finishing `Society’s Child’, I feel like I’ve had a front row seat to the soundtrack of my life.”

 

From Janis’ first headlining show at Greenwich Village’s Gaslight Café at age 15, her life was fraught with challenges. Most adults could not have survived the scorn and controversy that surrounded what was to become her debut single and first hit. “Society’s Child” focused on an interracial couple in an era when tempers flared at even such a mention. The intimidating boos she received onstage from racists shied in comparison to the hate mail and death threats she was subjected to. She has continued to hold her head high despite criticism, family problems, near fatal health issues, failed relationships with both men and women including an abusive and broken marriage, and devastating financial crises. She says of her early career, “"I wrote my first song at 12. Was published at 13. Made a record at 14, had a hit at 15, and was a has-been at 16. So 'At 17' means more to me than you can know”

 

“At Seventeen” became her trademark song and, along with the album on which it debuted, “Between the Lines,” it earned five Grammy nominations and two wins including Best Pop Female Performance and Best Engineered Recording. The song has since joined “Society’s Child” as inductees in the Grammy Hall of Fame. Health problems, a broken marriage and numerous other challenges followed causing her to rethink her life. After a nine year hiatus when she studied theatre with legendary Stella Adler, she returned to music with “Breaking Silence” and received her eighth Grammy nomination (1993).

 

Writing prose came early as well. Her article The Internet Debacle: An Alternative View

(available on her website) has been posted on over 1,000 websites, quoted in USA Today, translated into eleven languages, used as evidence in the Napster and Grokster cases, and featured by BBCTV. The first book for which she wrote, “The Stars Anthology” or “Stars: Original Stories Based on the Songs of Janis Ian” received praise. 30 science fiction writers used her songs as a backdrop for their imaginations. Awards were numerous, including recognition of a story she wrote specifically for the anthology, “Second Person Unmasked.” Now, with the success of her autobiography, she is expanding her literary horizons with a children’s book based on Ian’s song “The Tiny Mouse”(Lemniscaat Publishing ) due in Fall 2013. The book, which will be illustrated by the Schuberts, will include a CD of the song so children can sing along.

 

Music and lyrics are about life experiences and, as Janis’ life has been full and colorful, so have her songs as evidenced by her multiple awards, Grammy and Dove Award nominations and commendations. Her songs have been recorded by singers as diverse as Cher, John Mellencamp, Celine Dion, Hugh Masakela, Nana Mouskouri, Charlie Daniels and Roberta Flack. Always one to follow her heart and her beliefs, Janis was one of the first celebrities to come out publicly. She and her partner of 23 years were married in Canada in 2003, the only place where gay marriage was legal at the time. Her roller coaster ride has taken her to Nashville, her home this past quarter century, where she thrives with new product on her own Rude Girl Records label, ongoing touring, and perpetual and prolific songwriting.

 

 

Tobin Del Cuore 

VIDEOGRAPHER - Prelude

A native of Norway, Maine, Tobin Del Cuore began performing at the age of nine.  His studies of theatre and dance led to an invitation to begin his ballet training at the Walnut Hill School in Natick, Massachusetts.  Two years later was accepted to the Juilliard School under the direction of Benjamin Harkarvy graduating in 2001 with a Bachelor of Fine Arts.

 

Upon graduating, Del Cuore joined the artists of Hubbard Street Dance Chicago, where for six years he had the chance to perform the work of some of today's most important choreographers.

 

Del Cuore's development as a videomaker began while still at HSDC.  At first a hobby while on tour, he was soon commissioned to create videos for the company's website and annual gala fundraisers.  After leaving HSDC and while on a two year hiatus from dancing, this hobby quickly developed into a profession as numerous Chicago organizations such as Illinois Institute of Technology, Rush University Medical Center, Ballet Chicago, Fairmont Hotel Chicago, Cabrini Green Legal Aid and East Bank Club commissioned video work from Del Cuore.

 

For the past two seasons Del Cuore has danced with Aszure Barton & Artists, and recently the Lar Lubovitch Dance Company, as well as completing two runs of the american classic, Show Boat with Houston Grand Opera and Lyric Opera of Chicago.

 

Most recently Del Cuore created video projections for Aszure Barton's new, evening-length work, Awáa, as well as creating eye-popping music videos for raunchy Chicago rapper, Big Dipper.

tdcpros.com   tobindelcuore@gmail.com

 

Clifton Taylor

LIGHTING DESIGN

Clifton Taylor has created lighting, projection and scenic designs for theater, dance and opera companies around the world.  Broadway credits include:  “Jay Johnson: The Two and Only” (Ovation Award & LA Drama Critics Circle Nomination), "Frozen" (Lortel Nomination), “Hot Feet,”  (Henry Hewes Nomination). Recent Off-Broadway credits include: “Freud’s Last Session” (currently running in New York and Chicago), “On the Town” (City Center Encores!), “Face the Music” (City Center Encores!), “Anne of Green Gables” (Theatreworks / Lortel), “Endgame” (Irish Rep).  Other credits include several shows in Chilean Patagonia’s new opera house: Teatro del Lago, Houston’s Alley Theater, the Dallas Theater Center and many other regional theaters across America.

 

His designs for dance have been commissioned for the repertories of the Alvin Ailey American Dance Theater, the Rambert Dance Company (London), American Ballet Theatre (NY), the San Francisco Ballet, the Scottish National Ballet, Les Grands Ballets Canadiens, Ballet de Lorraine (Nancy, France), Ballet Jazz de Montreal, the San Francisco Ballet, Maggio Danza (Florence, Italy), Sardono Dance Theatre (Indonesia), and the Ballet Company of Rio de Janeiro among many others. He is currently the resident designer for Karole Armitage Gone! , Philadanco, and Elisa Monte Dance and has designed extensively in the companies of Lar Lubovitch, Jacqulyn Buglisi, Ron K. Brown and Larry Keigwin.  Other recent collaborators include:  Benoit Swan Pouffer for Cedar Lake, Pascal Rioult, Septime Webre for the Washington Ballet among many others.

 

Extensive work in both new and repertory opera includes several projects with Doug Fitch’s ‘Giants are Small’ company, the Tanglewood Music Center, numerous projects at New York’s Asia Society, a lab for new work by Asian artists; the Pocket Opera of New York as well as the Juilliard School, the New York Philharmonic, and the Opera de Lorraine (Chatelet Theater, Paris). His designs have been featured at the world's major arts festivals including the Venice Bienalle, Vienna Festival, New Crowned Hope, Jacob's Pillow, Singapore's Festival of Asian Arts, Arts Summit/Jakarta, the Hong Kong Festival, the Istanbul Festival, the Hamburg Summer Festival, The Lincoln Center Festival and BAM/Next Wave.

 

In addition, Mr. Taylor has worked as a theater consultant on new large scale theatrical venues in several countries and is a sought after teacher and lecturer on theatrical lighting especially in the area of color.  In 2002 he was awarded a grant from the Asian Cultural Council to develop and teach a course in design for the Royal University of Fine Arts in Phnom Penh, Cambodia. In 2003, he led a master class for Indonesian theatrical designers in Solo, Indonesia. With Beverly Emmons, he has taught at New York’s Broadway Lighting Master Class since 1997, and is a former member of the Juilliard School’s Dance Faculty. In addition, he has guest lectured throughout the US at major universities and professional conferences. Mr. Taylor was educated at the Tisch School within New York University and resides in New York City with his family.

designcurve.com   ct542@designcurve.com

 

 

Karen Young

COSTUME DESIGN for Memory Current and Prelude

Karen Young has designed costumes for numerous dance and video art projects and has recently been teaching at the Rhode Island School of Design. Her design work for dance can be seen in the repertoires of the Martha Graham Dance Company, Morphoses, American Ballet Theater, Kyle Abraham, Armitage Gone! Dance,  Dusan Tynek, Pam Tanowitz, Brian Brooks, and Rioult among many others. She has collaborated with many renowned video artists, including designing costumes for David Michalek’s “Slow Dancing” and “Portraits in Dramatic Time” at Lincoln Center Festival, Matthew Barney's "Cremaster 5" and “Cremaster 1”, and Eve Sussman’s "89 Seconds at Alcazar" and "The Rape of the Sabine Women". Recent projects include: the new off-Broadway show “Fighting Gravity”, Third Rail Projects Bessie Award winning immersive show “Then She Fell”, and Wendy Whelan’s new production “Restless Creature” with choreographers Alejandro Cerrudo, Josh Beamish, Brian Brooks, and Kyle Abraham.    www.karenyoungcostume.com   young_karen@verizon.net

NAMI MIWA

ASSITANT STAGE MANAGER

John Deane

PHOTOGRAPHY

www.johndeane.com

Nobue Hirabayashi

WEB/GRAPHIC DESIGN

www.mtdesign.net

Hiroshi Masuyama

EXECUTIVE PRODUCER

masuyama.com@gmail.com

 

Sumie Yonei

PRODUCTION ADVISER / COORDINATOR

sumieyonei@gmail.com

 

Antonia Miranda

VIDEO (Making Resonance)

antonia.k.miranda@gmail.com

Stephen Pier

REHEARSAL DIRECTOR

piergrp@gmail.com