Miki Orihara, a principal dancer of the Martha Graham Dance Company, began her training in Japan at an early age in traditional Fujima Japanese Dance. After graduating from Bunka Gakuin high school in Tokyo, she came to New York to study at the Joffrey Ballet School. Then received scholarships to study at the Alvin Ailey American Dance Center and the Martha Graham School of Contemporary Dance. In 2011, she earned BA in Dance from SUNY Empire State College.
In 1983 she became one of the original members of the Martha Graham Ensemble and thereafter shortly joined the Martha Graham Dance Company. She has performed with various other prominent companies and choreographers as well. These include Yuriko, Elisa Monte, Jean Erdman, Mariko Sanjo, Jun Kono(Japan), Buglisi/Foreman Dance, Twyla Tharp, Stephen Pier, Martha Clarke, Anne Bogart and SITI company, and Robert Wilson. In 2001, she was invited to dance at the New National Theater in Japan. In 2006, she was a guest artist with Pascal Rioult Dance Theater for their France Tour. On Broadway, Ms Orihara appeared in the role of “Eliza” and “Topsy” in “ The King & I” directed by Christopher Renshaw, Choreographed by Jerome Robbins and Lar Lubovitch.
As a choreographer, she premiered her solo work/performance “Searching Dimensions” (1995) in New York. Her recent works are “Passage”, “Serious Garden” and “End of Summer” . These works were well received at their openings in Japan. In 2001, Ms Orihara presented an 8 women piece “VOICE” in Nagoya, Japan followed in 2008 by “Stage”.
Ms. Orihara assists master teacher and choreographer Yuriko in her Graham technique classes, reconstructions and choreography. She has also been a guest teacher at UCLA World Arts and Culture Department, Atlanta Ballet, State University of Florida, the Ailey School, Peridance, The Hartt School, Arts International in Moscow with Takako Asakawa, the New National Theater Ballet School in Tokyo, Les Etés de la Danse in Paris, Henny Jurriens Foundation in Amsterdam and numerous other workshops and schools throughout the world. She is currently on faculty at the Martha Graham School. As a Regissuer on Martha Graham’s work, she has been setting works on world wide, include Diana Vashineva’s “Dialogue” and Wendy Whelan of New York City Ballet.
Ms. Orihara served as a Movement designer for Jen Silverman’s “Crane Story” directed by Katherine Kovner and a Casting Producer/Dance Director for mishmash＊Miki Orihara’s music videos which will be released Spring/Summer 2014. Ms. Orihara is in process of making Martha Graham technique DVD, collaboration with Dance Spotlight and Martha Graham Center.
In 2010, She received a New York Dance and Performance (BESSIE) Award for her contributions to dance.
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.”
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.
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.
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.
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.
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.
Composer/Song-writer: Music for Miki Orihara’s Work
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 (MO’s work)
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.
COSTUME DESIGN for Barruch and Orihara’s new work
PRODUCTION ADVISER / COORDINATOR
VIDEO (Making Resonance)