Sachiyo Ito's Memoir to Appear on JapanCulture•NYC
JapanCulture•NYC is pleased to announce that renowned dancer, dance educator, and choreographer Sachiyo Ito will serialize her memoir on this website. Beginning Thursday, January 11, we will present one chapter each month, revealing a different aspect of her early life in Tokyo and career in New York City in each installment.
Ito Sensei offers of a profound exploration of her experience of dedicating herself to traditional Japanese dance at an early age, arriving in New York City during the tumultuous ‘70s, and making a successful career in the arts. Each chapter offers a glimpse into the complexities that shaped her journey.
The memoir is an invitation to delve into the layers of a creative life and career that has spanned more than 50 years. As a work in progress, it is also an invitation for you to offer your feedback. Your insights will contribute to the evolution of this extraordinary work.
Join us on Thursday, January 11, as we begin this literary examination of not only Ito Sensei’s life, but of how New York City’s culture evolved over the decades and what sacrifices one must make to achieve a thriving career in the arts.
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EXPLORE THE UNIVERSAL CONCEPTS OF CREATIONS & BEGINNINGS WITH “ONOKORO”
ONOKORO – creations/beginnings
Saturday, September 23 and Sunday, September 24 at 7:00 p.m.
Martha Graham Studio One – 55 Bethune Street (between Washington and West Streets), 11th Floor
Admission: $30 | $15 Seniors and Students
Tokyo to New York, in collaboration with Random Access Music, presents the upcoming production of ONOKORO – creations/beginnings. The show is a unique fusion of music and dance that explores the universal themes of creation and beginnings.
The one-hour, non-stop show will feature a captivating blend of contemporary compositions combining traditional Japanese instruments with Western classical instruments, performed by a stellar ensemble of musicians and dancers. The show will include modern dance, traditional Japanese Bugaku dance, a clarinet concerto with Gagaku ensemble, a hichiriki concerto with strings, and trios combining Western classical instruments with traditional Japanese instruments.
To purchase tickets, please visit Tonada Productions’s website.
Inspired by universal creation myths, ONOKORO – creations/beginnings immerses audiences in a flow of music, dance, and ritual that evokes timeless traditions through contemporary artistry. From “Ryoanji” (summoning the beginnings of sounds) to “Netori, Netori” (evoking the beginnings of organized sound and music), through to “Onokoro” (combining the Eastern and Western worlds of music and movement), modern dancer Miki Orihara, clarinetist and hichiriki player Thomas Piercy, Bugaku dancer Maki Yamamae, and their fellow performers will awaken the magic and majesty of the creations and beginnings that connect us all.
Under the artistic direction of Thomas Piercy and the choreography of Miki Orihara, ONOKORO – creations/beginnings features an exceptional lineup of composers, instrumentalists, and dancers. The program includes compositions by renowned composers John Cage, Gilbert Galindo, Masatora Goya, Bin Li, and Miho Sasaki. The performances will showcase the dance and choreography of Martha Graham protégé Orihara and Yamamae, as well as multi-instrumentalist Piercy on clarinet, hichiriki, and ohichiriki. Joining Orihara, Yamamae and Piercy are dancer Ghislaine van den Heuvel, ryuteki player Lish Lindsey, hichiriki player Joseph Jordan, sho player Harrison Hsu, koto player Masayo Ishigure, violinists Sabina Torosjan and Lara Lewison, violist Laura Thompson, cellist Daniel Hass, bassist Pablo Aslan, and pianist Marina Iwao.
ONOKORO – creations/beginnings is not only a celebration of artistic collaboration which combines the traditional with the contemporary, but it also unites diverse musical genres and dance forms to create a truly immersive experience. This event seamlessly blends and celebrates a harmonious convergence of cultures and is a testament to the diversity of musical expressions and cultures, underscoring the richness of human creativity when artistic worlds collide. It is a celebration of our shared human experience through the lens of dance and music.
Support JapanCulture•NYC by becoming a member! For $5 a month, you’ll help maintain the high quality of our site while we continue to showcase and promote the activities of our vibrant community. Please click here to begin your membership today!
THE FIRST SHOWCASE OF A.T. DANCE COMPANY
A.T. Dance Company
Sunday, September 3 at 12:30 p.m. and 4:00 p.m.
Robert Moss Theater at 440 Studios – 440 Lafayette Street, #3 (between Astor Place and E. 4th Street)
Admission: $34.12 (includes fees)
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.
Support JapanCulture•NYC by becoming a member! For $5 a month, you’ll help maintain the high quality of our site while we continue to showcase and promote the activities of our vibrant community. Please click here to begin your membership today!
Sakura
Sakura
Saturday, April 22 at 6:00 p.m.
Goldish – 71 Murray Street (between W. Broadway and Greenwich Street)
Admission: $150
Ninja Ballet returns to New York City to grace the intimate space at Goldish, after a whirlwind tour in Mexico. In Sakura, artistic director Shoko Tamai hosts an Earth Day dance theatre celebration of the spring season, along with a traditional Japanese tea ceremony. Light refreshments will be served.
To purchase tickets, please visit Shoko Tamai’s Eventbrite page.
Photo by MANONCE
Performing Artists
Choreography — Shoko Tamai
Guest Dancer — Elisa Toro Franky
Shakuhachi — Adam Robinson
Drum (Music Arrangement) — Mal Stein
Artwork — Pedro Cuni
Tea Master — Yoshitsugu Nagano
About Ninja Ballet
Established 2017, Ninja Ballet is a fusion Eastern and Western dance methodology, practice, and performance. The company seeks to stimulate cross-cultural learning and environmental awareness through dance, music, and visual arts, while inspiring a new generation of enlightened movement artists. For more information, please visit their website.
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.
Scene from WAKASHU by Akiko Tokuoka (far right). Photo by John Mazlish.
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.”
Scene from WAKASHU by Akiko Tokuoka (far right). Photo by John Mazlish.
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.