- unitid
-
{"value"=>"*MGZMD 467", "type"=>"local_call"}
{"value"=>"23933", "type"=>"local_mss"}
{"value"=>"b21281238", "type"=>"local_b"}
- unitdate
-
{"value"=>"1966-2014", "type"=>"inclusive", "normal"=>"1966/2014"}
- unittitle
-
{"value"=>"Saeko Ichinohe Dance Company records"}
- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"28.43 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"67 boxes, 1 volume", "unit"=>"containers"}, {"name"=>"extent", "value"=>"21.73 gb (7,547 computer files)"}], "supress_display"=>true}
- repository
-
{"id"=>"DAN", "value"=>"Jerome Robbins Dance Division"}
- abstract
-
{"value"=>"Saeko Ichinohe (born 1936) was the founder, choreographer, and a dancer of the Saeko Ichinohe Dance Company, which she created in 1970. The Company merged traditional Japanese movement, music, and costumes with modern Western movement. The collection chronicles Saeko Ichinohe's professional career and that of her dance company from the late 1960s to 2014. It contains choreography and dance notation, photographs, costume notes, teaching material, administrative and financial documents, correspondence, biographical material, repertoire lists, programs, writings by Ichinohe, publicity, and audio and video recordings."}
- origination
-
{"value"=>"Saeko Ichinohe and Company", "type"=>"corpname", "role"=>"creator"}
- bioghist
-
{"value"=>"<p>Saeko Ichinohe (born 1936) was the founder, choreographer, and a dancer of the Saeko Ichinohe Dance Company which she created in 1970. The Company merged traditional Japanese movement, music and costumes with modern Western movement. The Company's activities focused on demonstrations and teaching, and included public performances, lecture-demonstrations, workshops, and special programs. They performed throughout the United States and internationally at theaters, schools, festivals, and community centers. The company closed in 2013.</p> <p>Ichinohe came to New York on a Fulbright scholarship in 1968 after touring with Ishii Baku's dance group in Japan. She attended The Juilliard School, graduating in 1971. During this period, she studied contemporary dance with Martha Graham, and ballet under Antony Tudor to whom she dedicated the piece <span class=\"title\">Ninja</span> (1987). She won the Boston Ballet's Vestris Prize for Choreography in 1968, with the work <span class=\"title\">Suspicion</span>. The Asia Society director of performing arts, Beate Gordon, arranged to send the Company on a six week tour of the U.S. under the program title \"East Meets West,\" in 1973.</p> <p>In 1978, with the aim of introducing Japanese culture to students, the company developed performances for children and began to visit public schools in New York City and in other states, as part of the program Young Audiences Inc. Ichinohe also taught dance at the Ballettinstitutt in Oslo from 1971 to 1972, and again in 1992; and as an adjunct at Brooklyn College in 1985 and 1987.</p> <p>A major work of Ichinohe's was an interpretation of the eleventh century Japanese novel <span class=\"title\">The Tale of Genji</span> (<span class=\"title\">Genji Monogatari</span>). She began choreographing the story in the early 1990s, and performed the first section in 1995. The full-length piece was premiered for the novel's 1000 year anniversary, in 2000 at the Kaye Playhouse at Hunter College. Adaptations or variations of the work were often performed by Ichinohe and her company, and became a central element of the repertoire.</p> <p>The company often performed works choreographed by Ichinohe on Japanese themes, such as the folk tales <span class=\"title\">Urashima Tarō</span> and <span class=\"title\">Saru Kani Kassen</span>; the junihitoe, a form of court dress from the Heian period; artists such as Kitagawa Utamaro, Shiko Munakata, and Paul Klee; and early U.S.-Japan relations (<span class=\"title\">Stars, Stripes, and Cherry Blossoms</span>). Ichinohe has also created choreography for a number of companies, including the Joffrey II dancers (<span class=\"title\">Kami no Yama</span>, 1979), the Eglevsky Ballet (<span class=\"title\">Ninja</span>, 1987), the Atlanta Ballet (<span class=\"title\">Circles</span>, 1981), and Philadanco (<span class=\"title\">Eternal Echo</span>, 1982). She danced Ruth St. Denis's composition <span class=\"title\">Incense</span>, coached by Deborah Zall, for the company's 38th season in 2008.</p> <p>Ichinohe was the consultant on Japanese Movement for the New York Metropolitan Opera's performances of <span class=\"title\">Madama Butterfly</span> for 20 years, up until their 2005/2006 season, and advised other regional companies on the same production. Ichinohe instigated the annual \"Cultural Bridge Award\" in 1998, which she presented to individuals who contributed to cultural exchange between the United States and Japan. Ichinohe was recognized for her contribution to the promotion of friendship and mutual understanding between the two countries in 2006, when she was presented with a commendation from the Japanese Minister for Foreign Affairs.</p> <p>The company also performed works created by its other members: Jeff Moen, principal dancer of the company from 1991 to 2009, choreographed <span class=\"title\">Oiran</span>, the courtesan section of <span class=\"title\">Utamaro</span> in 2004; and <span class=\"title\">Dreams Wandering Over a Withered Field</span> (2005), based on the poems of Matsuo Bashō. Hector Tello, who danced with the company from 1980 until his death in 1987, choreographed <span class=\"title\">Poem of Evening</span> (1982), <span class=\"title\">Evensong</span> (1987), <span class=\"title\">Sparrows</span> (1982), and <span class=\"title\">Preludes</span> (1986).</p>"}
- scopecontent
-
{"value"=>"<p>The collection chronicles Saeko Ichinohe's professional career and that of her dance company from the late 1960s to 2014. It contains choreography and dance notation, photographs, costume notes, teaching material, administrative and financial documents, correspondence, biographical material, repertoire lists, programs, writings by Ichinohe, publicity, and audio and video recordings. Most of the material in the collection was generated by Ichinohe herself, and some material is in Japanese.</p> <p>A major component of the collection are the Scrapbooks. These contain photographs, certificates, correspondence, clippings, and ephemera pertaining to an event, date span, or particular work.</p> <p>The Dance Work and Performances files contain choreography and movement notes for most of Ichinohe's works, both those created for her own dancers, and other companies. They may include photographs, notes, costume designs and fabric samples, and are arranged alphabetically by work or subject.</p> <p>The Photographs files include a large number of digital images and are a significant component of the collection. They include photographs of Ichinohe's earliest works from the late 1960s and early 1970s to the 2000s. They also record teaching, demonstration, and fund-raising activities. Files may contain slides, negatives, and contact sheets which provide context and identification for untitled photographs of performances in the collection. There are a number of photographs by the dance photographers Kenn Duncan and Costas.</p> <p>Administrative records trace the fundraising, outreach and public relations activities of Ichinohe for the company, as well as containing dancer profiles, and lists and records of works. Biographical Material includes CVs, reference letters for Ichinohe and performance records for the the company. Programming files document individual performances and company-organized events through correspondence, production information, venue details, budgets, itineraries, performer details, schedules, and audience surveys.</p> <p>The Company's involvement in teaching and presenting Japanese dance and culture to elementary school students and the broader community is well documented in the Educational Programs, Workshops and Conferences, and Programming files.</p> <p>Writings, Narration, and Speeches includes autobiographical sketches composed by Ichinohe, articles published in Japan, speeches and presentations, and narration for performances and demonstrations.</p> <p>Ichinohe's file and folder titles have been maintained when present, while some were edited for clarity, or transcribed or translated from the Japanese.</p> <p>Some of the sound and video recordings contain separate text, notes, and annotations. This material has been preserved where possible and can be found in box 63.</p>"}
- arrangement
-
{"value"=>"<p>Material is grouped by subject and is arranged chronologically and alphabetically within groupings.</p>"}
- acqinfo
-
{"value"=>"<p>Donated by Saeko Ichinohe, 2015.</p>"}
- processinfo
-
{"type"=>"processing", "value"=>"<p>Compiled by <span class=\"name\">Amelia Carlin</span>, <span class=\"date\">2017</span>.</p>"}
- accessrestrict
-
{"value"=>"<p>Video and audio recordings are unavailable pending digitization.</p>"}
- userestrict
-
{"value"=>"<p>The author/creator retains the copyright of materials. For information on obtaining permission to publish, contact the Dance Division at dance@nypl.org.</p>"}
- dsc_type
-
combined
- date_start
-
1966
- keydate
-
1966
- date_end
-
2014
- date_inclusive_start
-
1966
- date_inclusive_end
-
2014
- extent_statement
-
28.43 linear feet (67 boxes, 1 volume); 21.73 gb (7,547 computer files)
- prefercite
-
{"value"=>"Saeko Ichinohe Dance Company records, *MGZMD 467. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts"}