Monthly Archives: February 2016

Martha Graham and the Asian Connection

I wrote this  in April 2014 for Dance Magazine’s website. Recently, when searching for it to recommend to a student, I noticed it was missing from the site, so I decided to re-post it here, on my individual site. These musings were prompted by the 2014 season of the Martha Graham Dance Company, but they had been brewing for some time. I thank the late Blondell Cummings for helping to jog my memory.

Although the Graham season this weekend emphasized Martha’s Greek connection, it got me thinking more about her Asian connection. From the legendary Yuriko in the 1940s on down to the latest star, PeiJu Chien-Pott, these dancers have each been breath-taking interpreters of Graham’s vision.

OeuHu Chien-Pott in Depak Ine, photo by Yi-Chun Wu

PeiJu Chien-Pott in Depak Ine, photo by Yi-Chun Wu

I’ve read that Graham cultivated an Eastern look herself and that she felt flattered whenever anyone mistook her for Asian. It’s possible that, since she had a long torso and short legs, her close-to-the-floor technique was particularly suited to Asian bodies. And of course, she had a great affinity with sculptor Isamu Noguchi, whose sets for many of her pieces gave them a spare, Eastern look. About the relationship between Graham and Noguchi, Takako Asakawa once said, “In art, they were like husband and wife.”

Whatever the reason, more Asian dancers have found a home in her work than in any other modern dance company—and many of them have been brilliant. By the way, Graham’s interest in Asian forms goes back to Michio Ito, the early modern dancer with whom she had studied.

Here are the Asian dancers I remember:

Yuriko, Dance Magazine Archives

Yuriko, Dance Magazine Archives

Yuriko Kikuchi — Known simply as Yuriko, this legendary dancer started as a seamstress for Martha. As Japanese immigrants during World War II, her family was forced to live in an internment camp. (These camps were recently brought to light in the Broadway musical Allegiance.) Yuriko danced with Graham from 1944 to 1967 and continued to appear as a guest artist. As a stager, she  set the glorious stampede known as Panorama (1935) on the company. (She also played Eliza in the original Broadway musical The King and I (1951) as well as in the movie (1956), both choreographed by Jerome Robbins.

Takako Asakawa — As the woman in red in Diversion of Angels, she would cross the front of the stage, relevé with one leg lifted, and contract in a spasm of joy at the peak of the relevé. I’ve never seen any dancer, in a modern or ballet company, perform this passage with the same slicing, gripping electricity that Asakawa had.

Yriko Kimura as Clytemnestra, 1970s, photo by Max Waldman

Yuriko Kimura as Clytemnestra, 1970s, photo by Max Waldman

Yuriko Kimura — Known as “Little Yuriko” and also from Japan, she danced with the company in the 1960s and 70s. Onstage she was both vulnerable and strong, with exquisite sensitivity, like a filament in a light bulb—unforgettable! I believe she still teaches in Japan.

Dawn Suzuki — A strong and rooted dancer, she used to demonstrate for the classes I took at the Graham studio in the 60s.

Miki Orihara — As a mainstay of the company from 1987 until just recently, she has excelled in lead roles in Appalachian Spring, Errand Into the Maze, and Satyric Festival Song. She teaches in Japan and the U. S. and has also served as Yuriko’s assistant.

Miki Orihara, photo by John Deane

Miki Orihara, photo by John Deane

Rika Okamoto — She had a keen sense of drama when she danced with the company in the 1990s. She also danced with Pearl Lang and later became one of the original Tharpettes in Come Fly Away. Her charisma led to her stealing the show of Tharp’s 50th-anniversary tour.

Feng-Yi Sheu, photo by John Deane

Feng-Yi Sheu, photo by John Deane

Feng-Yi Sheu — Around 2004, when it seemed the Graham company would go under, Feng-Yi became the reigning star, galvanizing the public with her forcefulness and uncanny Martha-like presence. Trained in Taiwan by former Graham dancer Ross Parkes, she graced the January 2005 Dance Magazine cover as a “25 to Watch.” She has also worked with Christopher Wheeldon, Cloud Gate Dance Theatre, and Akram Khan, and co-founded her own company in Taiwan. You can see her on the big screen in The Assassins.

Xiaochuan Xie, Dance Magazine cover, NOvember 2013, photo by Nathan Sayers

Xiaochuan Xie, Dance Magazine cover, November 2013, photo by Nathan Sayers

Xiaochuan Xie — Trained in China, “Chuan” is another powerhouse dancer who can be as delicate as she is forceful. Although she has the visceral fire in her belly that marks a Graham dancer, she can also radiate sunshine and sweetness in roles like Creon’s daughter in Cave of the Heart. In November 2013 she landed on Dance Magazine’s cover. Last season she followed in Yuriko’s footsteps, dancing a radiant Eliza in The King and I at Lincoln Center.

PeiJu Chien-Pott — An astonishing performer, Chien-Pott, originally from Taiwan, is the current star of the Graham company. Not only is she powerful in the Graham classics, but she has mastered the fluid, whipping-around choreography of Andonis Foniadakis in Echo and the animal-like strangeness of the lead solo in Nacho Duato’s Depak Ine. She is so animalistically heroic in this last piece that she reminds me of Little Yuriko.

Other Asian women serving Graham’s artistry have been Kazuko Hirabayashi, Akiko Kanda, and, currently, Xin Ying. Did I miss anyone?

Equal time for male dancers: When I first posted this almost two years ago, one reader pointed out that females were not the only gender of Asians in Graham’s company over the years. Click here to read my post-posting on Asian men in the group.

 

 

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Live Arts Festival: Middle East and North Africa

Whatever ideas we each have of the Middle East and North Africa, New York Live Arts is about to explode those notions. Starting this week, the Live Ideas Festival expands our knowledge with a truly global look at the arts in the Middle East and North Africa.

Dancers, filmmakers, musicians, literary and visual artists from Yemen, Egypt, Syria, Israel, Palestine, Morocco, and Tunisia descend on NY Live Arts on 19th Street from February 8 to April 3. The full title of the festival is “MENA/Future – Cultural Transformations in the Middle East and North Africa Region.” The full spectrum includes 45 performances, installations, gallery exhibits, master classes, and panel discussions.

Arkadi Zaides in his solo "Archive," photo by Christopher Reynaud de Lage,

Arkadi Zaides in his solo “Archive,” photo by Christopher Reynaud de Lage

The first dance entry is Archive by Arkadi Zaides, a Russian-born dance artist based in Tel Aviv. His work Quiet bowled me over when I saw it in Israel a few years ago. He engaged two Israeli and two Arab men in a raw, suspenseful, disturbing quartet that grappled with the hostility between them. I later interviewed Zaides when I wrote this post asking the question, Can dance address the Israel/Palestine Divide? Not someone to evade reality, he said, “Violence is perpetuating. Power is blinding. I cannot disconnect from more global questions.”

In Archive, Zaides dances in front of archived footage filmed by volunteers from the Israeli Center for Human Rights in the Occupied Territories. In doing so, Zaides asks: “What is the potential for violence embedded in each individual body?” (Along with that, I would say Hey, My Fellow Americans, we should get a glimpse of the kind of violence our government is supporting in Occupied Palestine.)

Another must-see work that is 2065 BC by Adham Hafez, who co-curated the festival with NY Live Arts programming director Tommy Kriegsmann. Based in Cairo, Hafez is an interdisciplinary live wire who crosses borders as well as genres. According to the press release, “The production aims to present the audience with a complex set of questions, where the ethics of occupation are dealt with in a manner that is dark, comic and politically ignited.”

A work by Adham Hafez

A work by Adham Hafez

None of this will be easy. We may not leave the theater with smiles or deep sighs of satisfaction. But it’s an opportunity to educate ourselves about a part of the world that is way more complex than we might think. Proceed at your own risk. I believe this Live Arts Festival is necessary viewing for us as citizens of the world.

For more info and tickets, click here.

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