On Her Dance Journey

March 24, 2025

An Interview with Kozue Kasahara

BY EMMALY WIEDERHOLT

Kozue Kasahara is a Japanese dance artist based in Los Angeles who currently performs with Lula Washington Dance Theatre. Here, she shares her perspective on dance training coming from Japan, her experience studying with and dancing for iconic Black female dance artists like Lula Washington and Karen McDonald, and her reflections on how the recent fires have impacted the Los Angeles dance scene.

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First, can you share a little about your dance background?

I started taking classical ballet at the age of four, at T.K. Ballet Academy, in Yokohama, Japan, because my sister was doing it. I trained in Vaganova method ballet until I was 22. I came to Los Angeles to study dance at Santa Monica College in 2014. In those days, I also attended Alonzo King LINES Ballet’s summer intensive and BODYTRAFFIC’s winter workshop. That’s how I started learning other dance styles. After obtaining an AA degree in Dance, I started auditioning. My first dance company was Donna Sternberg & Dancers, a local company in Santa Monica. I had the opportunity to perform at the International Association of Blacks in Dance (IABD) conference with B. Dunn Movement in Los Angeles in 2018. That was when Lula Washington was hosting IABD. Lula hosted an afterparty after the conference. I went, and that’s how I met her. She asked me to dance for her company. But because I’m from Japan, I needed to change my visa status. I went back to Japan and did visa applications. I came back in July 2019. That’s when I started working with Lula. I became one of the core dancers in 2020. Since then, I have been not only performing as a soloist, but also doing company warm up, coaching the rehearsals, teaching the students at the studio, and more.

You’ve studied and danced under a couple iconic Black female dance artists who have been pivotal to the LA dance scene, specifically Karen McDonald and Lula Washington. Can you share a little about your experience with each and how they shaped you?

I took Ms. McDonald’s class at Santa Monica College. She wanted us to speak. At the time, my English wasn’t that good. I was intimidated by that situation. We had to share something about ourselves. It was new to me to speak in a dance class. I had only done classical ballet, where we don’t speak. Having to talk made my dance different. Ms. McDonald told me that it’s important to know my voice. She also told me I have to pay attention to my intention. Those words really stuck with me. At the time, I was young and wasn’t sure what it meant that much. But now, being a professional dancer and teacher, I understand why it’s important to pay attention to my intention, not only in dance, but in life. Ms. McDonald teaches not only dance, but also life. She encourages women to speak up. She has been my mentor since then.

When I first met Lula, she didn’t talk to me that much. She was really intimidating, but I kept going to rehearsals and showing my work ethic. I was born and raised in Japan, so I am kind of good at following rules. I know about work ethic from classical ballet. Lula is very intense and strict. She sometimes says tough things to dancers if we don’t show our effort, but she started trusting me as I performed more. Lula loves a dancer who has a personality. I’m that kind of dancer, I guess. Lula really trusted me, which I really appreciate as a dancer.

I learned from Lula to love African American culture. Of course, I never experienced the African American struggle in my life. But in some pieces, I have to perform what they have been experiencing. For example, for a Juneteenth show one year, Lula created a piece about slavery. At the beginning, I felt uncomfortable because I’m not from here. But obviously Lula has experienced life as an African American woman, and that’s why she started a dance company showcasing Black culture. I’m a part of the company, so I have to understand that. I took a class about African American women’s literature when I went to the university in Japan, but I never had a chance to experience firsthand from an African American. I researched what happened to African Americans and the racial issues in the US. I really respect Lula as an artist because she let me do that kind of piece, me being Japanese. I realized that Lula accepted me as an artist to show Black history. She not only welcomed me but trusted and respected me as an artist, so I realized my job is to give her back what she asked for.

Most people know Lula Washington Dance Theatre as a Black dance company. It is not only an African American based company, but actually a diverse dance company. Lula acknowledges the dancers’ talent and who they are. She also knows the importance of supporting the community she creates. She was the one who saw my true talent, reached out to me, and decided to help me make my dream come true to be a dancer in LA. That’s what makes me feel like Lula is someone who is really wonderful and who I want to follow. I respect her as a strong Black woman.

From your perspective, what are the main differences and similarities between the dance scene in Japan and the dance scene in LA?

In Japan, since I only learned classical ballet, I don’t know as much about hip hop or commercial dance. Japanese culture emphasizes learning one specific genre. I never did jazz, modern, hip hop, house, popping, or whack. I feel like in Japan, hip hop dancers learn only hip hop. They focus on one genre and are really good at one thing. In LA, I couldn’t believe how versatile the dancers were. The dancers could turn, get their legs high, and groove. Dancers don’t have to be perfect at one thing, but they are good at everything. I have to be versatile to survive in LA. Lula asks us to do hip hop, house, pointe work, African. That’s the biggest difference.

How have the recent fires in the LA area affected the dance scene?

Lula has created a village-like environment. Thankfully, our studio was fine. We were on tour in New York when the fire happened, so we didn’t see the fires, but other LA studios had to close or cancel classes during the LA fire.

The company has been around since 1980. Lula experienced a big earthquake in 1992, but she never gave up and rebuilt the studio. Lula is always ready to face any kind of obstacles because she has had many obstacles since she started dancing. Whatever happens, it happens. We see what we can do collectively, and we keep going.

What’s next for you? Do you have anything upcoming you’d like to share more about?

In April, we have a show called LA Dances Graham 100 at the Soraya Theater in Northridge. This show is Martha Graham Dance Company’s 100th celebration show featuring soloists from the Martha Graham Dance Company, Lula Washington Dance Theatre, USC Glorya Kaufman School of Dance, CSUN Dance, and Los Angeles County High School for the Arts Dance. It is such an honor that I am going to perform one of the legacy solos, Satyric Festival Song, choreographed by Martha Graham and premiered in 1932. We had a rehearsal with one of the former Martha Graham Dance Company members, Blakeley White-McGuire, last August to learn the piece. I can’t believe I’m going to be performing Martha’s legacy work. That’s something big and this is going to be one of my highlights as a dancer. And then we’re going to have a show this August at The Ford Theater in LA for the 45th anniversary of Lula’s company.

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One Response to “On Her Dance Journey”

1. Michelle March 28, 2025

   Excellent!