Led by artistic director Aya Takeno, A.T. Dance Company presents its first showcase. The stunning production is described as “a fusion of cultures and styles that will leave you breathless!” The show is a unique and special opportunity to experience the beauty of dance from two different countries, Japan and the US, and to explore the themes of culture, identity, and the human spirit.

Act I is a fusion of Japanese traditional music and dance. Be transported to another world as you watch the dancers move to the sound of taiko. In the second act, the audience will witness the collaboration of singers and dancers as they create a seamless blend of music and movement that will leave you wanting more.

To purchase tickets, please visit Aya Takeno’s Eventbrite page.

Performers

Artistic Director
Aya Takeno

Dancers
Aya Takeno
Maiko Harada
Mayu Yamashita
Tsubasa Nishioka
Kisara Nonaka
Yuliya Chitose
Sara Horiuchi

Singers
Aya Nakamura
Showji Kumamoto

About A.T. Dance Company

Aya Takeno established A.T. Dance Company with the goal of creating a supportive environment for dancers of all levels. As a professional dancer herself, she struggled with finding where and how to express her joy, passion, and love of dance. In the future, Takeno wants her dance company to be both artistic and sustainable, providing dancers with the opportunity to pursue their passion for dance while also supporting themselves financially. To Takeno, dance can be a powerful tool for personal transformation. For more information, please visit A.T. Dance Company’s website.

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Susan McCormac 4/17/23 Susan McCormac 4/17/23

Akiko tokuoka and the japanese aesthetics of voguing

Akiko Tokuoka was inspired by a non-Japanese person who was inspired by Japan.

Although the New York-based dancer was born and raised in Kyoto—a popular tourist destination and Japan’s cultural hub—she had no formal training in Japan’s traditional arts, such as tea ceremony, calligraphy, and Nihon buyo, traditional Japanese dance.

“I was not familiar with it at all,” she says.

She admits that her home country’s time-honored traditions have always been part of her DNA. But she had to come to New York before she could fully appreciate them.

Early Influences

“I loved Black culture, Black music, hip-hop when I was young,” she says. “When I was 16 years old, I started that kind of dance first.”

Iconic Japanese pop star Namie Amuro, to whom Tokuoka refers as “the Japanese Beyoncé,” was her biggest influence.

“She could really sing and dance well. And I wanted to be like her; that’s the reason I started dancing.”

Tokuoka came to New York to pursue a career in contemporary dance and to learn English. The longer she stayed in New York, however, the more she felt an interest in her country’s traditions awaken within her.

“I realized that I have to learn traditional Japanese things. I have to learn traditional Japanese dance,” she says. “This helped expand my career and my philosophy. I started studying under [acclaimed dancer/choreographer] Sachiyo Ito Sensei in 2010 and learned from her for four or five years.”

However, she never abandoned her original goal of performing in other genres, finding a balance between both worlds.

Scene from WAKASHU by Akiko Tokuoka (far right). Photo by John Mazlish.

Come On, Vogue

Tokuoka went to New York City night clubs, sometimes doing dance battles. She eventually segued from hip-hop to house music, which is characterized by faster beats and more steps. There, she discovered voguing, the Black and Latinx communities’ stylized form of dance that grew out of the LGBTQ ballrooms of Harlem and rose to prominence with Madonna and the 1990 documentary Paris Is Burning.

Almost two decades after the documentary put the spotlight on voguing, Tokuoka found a community among the “houses” that keep the vibrant voguing traditions alive. Going to clubs every week, Tokuoka gradually became familiar with the dancers as well as the dances. She was invited to audition to become a member of the House of Ninja more than 13 years ago, and she’s been a member ever since.

“I really love how they describe Japan through their movements,” says Tokuoka of her House of Ninja partners. “It expands my inspiration, too.”

The “mother” of the House of Ninja, the late Willi Ninja, was inspired by Japan. Known as the godfather of voguing, Willi Ninja is credited with perfecting the dance’s clean lines and poses. He appeared in Paris Is Burning, saying that he wants to take voguing to Japan and have it accepted there.

they’re not as different as you’d think

To the uninitiated, Nihon buyo and vogue may seem like two disparate dance forms. Tokuoka disagrees; she finds many similarities between them.

“To dance with kimono is a totally different thing compared to other dance styles because there is a limitation,” Tokuoka explains.

Because the kimono restricts movement of the legs, Tokuoka says traditional Japanese dancers use their hands a lot and emphasize the angles of the neck and torso.

“That part is voguing dance,” she says. “Voguing dance and dancing in Japanese kimono really match. . . Part of voguing dance is we [go from] pose to pose to pose. Also, when we perform Japanese cultural dance, we look like we’re posing for pictures.”

the birth of wakashu

Tokuoka brought those similarities to life with her show Wakashu: Timeless Beauty of the Third Gender, which premiered at The Secret Theatre in Woodside, Queens, and ran for two nights in mid-November 2022.

With Wakashu, Tokuoka seamlessly blended delicate elements of Japanese culture and energetic voguing to a fluid, beautiful, and expressive performance. She and her fellow dancers—her House of Ninja collaborators Javier Madrid (aka ICONIC Javier Ninja) and John-Deric Mitchell (aka Star Ninja)—wore kimono and hakama, gestured with Japanese fans, performed a tea ceremony, and wistfully watched cherry blossoms in full bloom until their petals scattered to the ground. All the while, they danced to koto and shamisen music, overlaid with house beats, moving powerfully across the stage, striking poses, and blurring the lines between a contemporary dance form and one that’s hundreds of years old.

“I did my best to create a show that has Japanese elements,” says Tokuoka, although she also says she did not “consciously combine” Nihon buyo with voguing. She forms the idea of the show first, and “the choreography comes naturally.”

From concept to stage, Tokuoka spent only three months developing Wakashu. She received a grant from the Queens Council on the Arts in late June and had to present her work before the end of the year. Creating a new work from the beginning, securing a venue, holding rehearsals, and travelling to Japan to attend a wedding after the premiere made for a pressure-packed second half of 2022. But bringing together people who know her as a traditional Japanese dancer and those from her voguing world made it worthwhile.

Teaching japanese people about japanese traditions

“This is my mission. Every time I go back to Japan, they forget [Japanese traditions]. People in Japan don’t notice [Japanese traditions] at all . . . They are chasing other countries’ culture all the time. They love Hollywood movies; they love K-pop. They’re chasing other stuff—that’s what I see—instead of rooting themselves in what they already have.”

Wakashu embodies her mission of reminding her fellow countrymen of Japan’s ancient aesthetics, even with contemporary twists and turns thrown in.

The cast of WAKASHU bows to the diverse crowd

more on akiko tokuoka

When she’s not creating her own productions, Akiko Tokuoka performs with other companies. She appeared in The Brooklyn Nutcracker, which incorporated various world dances into the classical Christmas ballet, and she was a part of the Japanese comedy game show BATSU! New York in the East Village. You can follow Tokuoka on Instagram at @nyc.performanceartist.

THE FIRST SHOWCASE OF A.T. DANCE COMPANY

A.T. Dance Company