April 1, 2019 Review by Erin Bomboy for the NYC production of Cross Transit, published by The Dance Enthusiast – IMPRESSIONS: “Cross Transit” at the Japan Society


March 22, 2019 Review by Carmel Morgan for the Washington, DC production at The John F. Kennedy Center, published by CriticalDance – Akiko Kitamura’s Cross Transit


March 29, 2019 Review (in Japanese) by Takayuki Kigawa for the NYC production of Cross Transit, published by Yomitime – Hope for future inspired by a live performance


March 22, 2019 Cross Transit preview article published by Broadway World – Japan Society Presents Akiko Kitamura’s CROSS TRANSIT Tonight


March 21, 2019 Cross Transit preview article published by The New York Times – 8 Dance Performances to See in N.Y.C. This Weekend

November 21, 2017 Review by Say Tola for the Phnom Penh production of Cross Transit published by Khmer Times – Cambodian, Japanese artists collaborate on art project


November 20, 2017 The Phnom Penh production of Cross Transit article published by Kampuchea Thmey Daily


November 16, 2017 Review by Cindy Co for the Phnom Penh production of Cross Transit, published by The Phnom Penh Post – Amrita team up for a cross-cultural performance


May 1, 2017 Review by Me´lanie Vibrac for the Montreal production of TranSenses, published by Sors-tu? CA/CRITIQUE PUBLIE´ – RE´SONANCES VIRTUELLES | VISIONS FUTURISTES DE L’HUMANITE´ CHEZ TANGENTE


April 30, 2017 Review by Nathan Giroux for the Montreal production of TranSenses, published by Les – 《 Re´sonances virtuelles 》: le co^te´ trash de la technologie


April 30, 2017 Review by Robert St. for the Montreal production of TranSenses, published by Sur les pas du spectateur – Sur mes pas en danse: des “Re´sonances virtuelles” toutes aussi re´elles que de´routantes

[Review of “To Belong-Suwung-”]

Dance Magazine (Shinshokan January 2015)
“Achieving supreme goal”
by Tatsuro Ishii, “Dance New Air 2014 – the dance of tomorrow”

[Review of “To Belong-Suwung-”]

December 17, 2014
“Performing ‘To Belong / Suwung’ : Body Dialogue”
by Is Mujiarso – detikhot


April 1, 2013
The Japan Foundation Performing Arts Network Japan Artist Interview “Akiko Kitamura’s new horizons, Collaboration with artists from Indonesia”

[Review of “To Belong”]

June 3, 2012
“Tentang Cinta dan Kehilangan 愛と喪失”
by Novani Nugrahani


May 9, 2012
“Pertemuan Tubuh DUA BUDAYA 異文化の身体の出会い”
by Sjafrial Arifin


April 29, 2012
Koran Tempo-To Belong
“Koreograhi Cinta dan Kehilangan 愛と喪失の踊り”
by Nunuy Nurhayati

[Review of “KAIRO”]

2010 Collaboration with Art Zoyd (France), Cahiers du cinéma/JANVIER 2010

[Review of “Ghostly Round”]
-Berliner Morgen Post, Germany
-BerlinerZeitung, Germany
-Targesspiegel, Germany
-Volkskrant, The Netherlands


[Review of “Finks”]
-Svenska Dagbladet, Sweden
-The Malay Mail
-The McGill Dairy, Canada
-New York Times, USA
-Ballet Tanz Actual, Germany (by Akiko Tachiki)
-Aarhus Stiftstidende, Denmark
-Volkskrant, The Netherlands

-Dance Magazine, Japan (by Akira Amagasaki)
A True Masterpiece is Born! “It is amazing that Leni-Basso’s ‘Finks’ maintains the high tension until the very end. Involving audience in the fictional world with a story and suspend their tension is not difficult. Akiko Kitamura, however, does not do such a tasteless thing. She chooses a modern technique: rejection of audience’s assimilation to the stage or emotional involvement. It is extremely difficult to maintain their keen interest and breathtaking tension in this way. Ms Kitamura has developed her own style to explore the possibility. ‘Finks’ is the completed form of this effort.
While ordinary dance is choreographed with beautiful poses and flowing movements, elements of Ms Kitamura’s dance are preparedness to move and terminated movements. The preparedness brings out tension with expectation of move, and termination creates tension by blocked expectation. Of course, if unskilled dancers do this trick, it is simply boring.
The level of dancers of Leni-Basso is extremely high. They create dance by simple movements at varied paces. The image, lighting and sound technicians meet Ms Kitamura’s needs and maintain high levels, too. Attention is paid to eliminate unnecessary feelings and emotions on the stage. Colors and melodies are avoided, too. Space and time are laid out by contrast between light and darkness, and sound and silence. When dancers cross the space, they walk either vertically or horizontally, or aslant at the angle of 45 degrees. The finely polished performance, which eliminates sentiment and pleasure, radiates the tension as if the audience were watching a performance that has no second chance. A true masterpiece is born.”


[Review of “Slowly, Slow for Drive”]
-Dance Magazine, Japan


[Review of “Bittersidewinder”]
-Monthly Teatro, Japan
-Shimokitazawa Tsushin, Japan


[Review of “dovetail”]
-Monthly Ballet, Japan