I first saw her at the Ballet Nacional in Queretaro, Mexico. She was a brilliant young dancer, and in my classes for the Company at CENADAC in the 90’s. It has been a pleasure to make choreography with her and we've been friends and colleagues since. She has been a founding and moving force for dance in San Luis Potosi. She and her husband, Francisco Olmedo, founded El Ángel en el Espejo. They make theater/dance that is the ideal of art, activism and community and Ático their espacio escenico. She organized gatherings of our Graham "tribe" from Mexico and Latin America with workshops Hacia una Resignificación Metodológica de la Técnica Graham. Tangencia, Phaenomenon, Soma. (at the Centro de las Artes 2022) and "Tierra, Cuerpo. Legado" in 2025. As a teacher, creator, performer, and producer, she inspires with her knowledge, passion, generosity, and creativity.

From the first days in 1998 when I met and worked with these two brilliant artists at the University of Colima, their dancing and questing creativity were inspirations. They are at the heart of La Voz del Cuerpo / The Body Speaks and the Terpsikon as performers and collaborators, organizing wonderful premiere events for both of these projects. As teachers, choreographers, and directors of Univerdanza, they have enriched the Universidad de Colima’s dance and theater arts programs. I was proud to invite them to perform at the the NYC 92nd St Y’s Mexican Choreographers Week (2017) and honored by their invitation to perform with Univerdanza and give talks online and in person for the Universidad de Colima community.

My Teacher. Extraordinary woman, artist, dancer, who demanded everything and gave much more back. Being in class with her, in her company, and following her as a teacher, her intellect, energy, humour, and creativity was the matrix in which I was able to become a dancer. In New York, Mexico, Japan, and Spain, she transformed generations of dancers. I miss her deeply.

He's a dancer, teacher, and choreographer from the stage, to film, and on the ice. It was a delight to meet and mentor Brice at the Ailey New Directions Choreographic Lab in 2015. We immediately began a collaboration, creating for ourselves Toi/Je Suis un Autre which we premiered at the Neighborhood Playhouse concert in 2017. His beautiful weighted physicality and movement vocabulary was a challenge and compliment to my Graham self. Dancing together a joy. Wonderful to be invited dancer for his Oui Danse company's - WORK! in 2018.

Dear friend and collaborator whom I met during the 70’s and 80’s when Graham toured extensively in Italy. She was a fan and our supporter all over Italy and Europe. She is a Graham expert and scholar. Her web site, HyperMartha, is a marvelous resource. She is a doctor, a teacher, and choreographer with her company Aconcoli. With her incomparable creative and teaching skills, she continues to train and inspire a new generation of dancers in Milan, Italy at Carcano, where she introduced the Graham technique to the curriculum. A joy to have her study with me in New York, and at CENADAC in Mexico, and to teach together at danz.fest. It is a blessing to have her Italian translation of La Voz del Cuerpo.

Jaime and I have known each other since I began working in Mexico in 1981, meeting at CENADAC in Mexico City and then in Querétaro. His powerful dancing, his choreography, his intellect, deep study of theater and dance continue to inspire me. As directors of dance companies, and lovers of the Graham technique we had much to share, including many a tequila. Wonderful to work with him as he created a solo for me, “Short Story” (2017): a complex and condensed character study inspired by Tennessee Williams’ Lady of Larkspur Lotion to Luciano Berio’s music. It was a joy and honor to create the solo Uñas y Dientes for him. We have followed each other and worked together from Querétaro, to Sn. Luis Potosi, to Harvard where I invited him to set his La Consagración de la Primavera — and I loved dancing the role of the Shaman!

It is safe to say that, as one of my two first dance teachers, she bears some responsibility for my being a dancer. As a teenager in the Ann Arbor Dance Theater, at the University of Michigan, and much beyond, our dance lives have been connected. She inspires as a woman/creator/teacher, joining us teaching at danz.fest in Italy. I was honored that she brought me to Harvard where I was able to create a unique series of lecture/lab classes, performances and workshops, and where the seed of La Voz del Cuerpo took root.

A friend and brilliant physical therapist, whose instincts and deep knowledge of the body helped keep me together through many of my years of marathon dancing and teaching in the '70s and '80s.

Dancing for Pearl Lang's company, we met in 1973; Jacquie has been part of my life ever since. Her sense of humor and passion for dance made the Graham Company tours even more of an adventure during the decade we danced together with Martha. She amazes with the uncompromising and beautiful choreography that is the heart and soul of Buglisi Dance Theatre where her creative and collaborative work flourishes and nurtures new generations of dancers.

Brilliant performer, creative powerhouse and teacher, together on the long wonderful strange trip with the Martha Graham Dance Co. since the 70’s; ours is an extraordinary partnership of wildly different personalities, great trust and great fun dancing, traveling, and then as artistic directors bringing the Graham company back to life. An honor and delight to work with her staging Graham work at The Juilliard School. With Jacqulyn, and Donlin we created Buglisi Foreman Dance, now Buglisi Dance Theatre.

I’ve been a fan since I saw him with Ralph Lemon's Company in the 80's, and in a basement performance space where he began his solo career and then his own company in 1997. I loved performing the solo he made for me with his Quartet's Open House 01 at the Bessie Schoenberg Theater at the Dance Theater Workshop in 1999. Inviting him to teach with me at CENADAC in Mexico, the dancers were amazed to discover how seamlessly his work and mine ran through their bodies.

A student who caught my eye in my early years at CENADAC and the Ballet Nacional in Querétaro, Mexico in the 80’s. It was a joy to support him and see his work flourish in NY as he developed his choreographic voice. His Compañía Ciudad Interior, has flourished and created an extraordinary body of work that continues to move and impress dancers and audiences in venues like the International Festival Cervantino. I've been honored and delighted to perform with his Proyecto Lamentación - Todos al Teatro at the Teatro Juárez in Guanajuato, invite him to the 92Y Mexican Choreographers program in 2017 and to other venues in the US and Mexico since then, and celebrate the interlocking dance traditions of Martha Graham and Guillermina Bravo that we share. In my project to re-animate Martha's contemporary dance collaborations/performance at the Neighborhood Playhouse School of the Theatre in NY, his company has been a perfect partner creating a stunning media, music, and dance program.

Her work has inspired and entertained me for years. What a pleasure to have been part of creating Ann the Word — dancing, singing, and acting with her marvelous cast in the Lincoln Center Productions workshop of this work about the founder of the Shakers. While Artistic Directors of the Graham Company, Terese and I were thrilled to invite her to choreograph for the company's 2005 NY Season: Sueño was a powerful dance/theater statement and a marvelous creative experience for the dancers. (I loved my cameo role).

Brilliant designer of this website, also my brother, medieval historian, computer programmer, and musician.

A partnership onstage that was profound, always creative, sometimes combative, and showed audiences the intimacy and power of female/male relationships in Martha's dances. Donlin brought depth to the male roles and new complexity to the repertory. Together, Jacquie Buglisi, Terese Capucilli, Donlin and I created Buglisi Foreman Dance, now Buglisi Dance Theatre.

Having long admired her writing, it was marvelous to be a fellow Fellow at Harvard University’s Radcliffe Institute for Advanced Study. What a pleasure to spend time talking dance and Mexico, discovering our common dance roots. Her knowledge of Mexican and Latin American politics and culture is profound, providing a deeply human and insightful perspective. It was an honor to have her as guest lecturer for my Harvard course Rite of Spring; the nexus of art and ritual.

A Juilliard student who shone and became principal dancer with Buglisi Dance Theatre, and includes Alexander teaching among her many skills. She has graciously performed and taught for Kozlov International Youth Dance Festival in New Jersey and in Aruba.

An old friend whose talent and artistic vision I love, and whose roses on many an opening night made everything special. I was glad to have introduced him to the beauty of Martha Graham’s work. Star of the Bolshoi and of Balanchine’s New York City Ballet, Leonid has an extraordinary talent for teaching kids, and has turned his vast professional experience into an incomparable resource and inspiration for his students. In 2005 he founded the Youth Dance Festival of New Jersey for which I was judge and master teacher. He has expanded the Festival to Aruba, producing summer festivals and winter Nutcrackers, and I've been delighted to participate. In 2010 Leonid celebrated 30 years of a dancing life in the United States since his defection from Russia. His home now in Aruba, he is teaching and coaching the stars of tomorrow.

A lifesaver to have found him — a doctor deeply caring, skilled and a delight to have as friend, he helped me survive the wonderful and relentless years of non-stop dancing.

A dancer I first met at CENADAC, who had something special from the beginning: natural power and poetry. I was glad to support her with a Coca Cola Scholarship to study at the Graham School, and later at Danz.fest in Italy. She took it all and went far and wide as a performer and creator. She created Invernadero Danza in the Oaxacan dance community, bringing guest teachers to one of the most exciting art/dance communities in Mexico, and creating a resource and creative opportunity for dancers and musicians. It is a joy to continue working with her creating unique workshops for dancers, photographers, visual and plastic artists.

Dancer, designer, costumer, great friend. We met in in his hometown Guanajuato in 1981 on my first trip to Mexico to teach. Sergio, besides being a wonderful dancer, has flair, humor, energy, a great humanity, and a long and wide vision of dance and life; designing and building his own studio/theater in Guanajuato, and overseeing his family's rancho and agave plants. He has been part of building the Mexican dance community, performing with Guillermina Bravo's Ballet Nacional, teaching at CENADAC, and all over Mexico. He choreographs, teaches, has showed me his country, entranced me with his way with the Spanish language, and constructed all of the costumes for my choreography, and for the film La Voz del Cuerpo / The Body Speaks in which his dancing shines.

One of my first Juilliard students, brilliant on stage with Battleworks and the Ailey Company. He has generously performed for Kozlov International Youth Dance Festival of New Jersey. Great to have his talent and humor filming La Voz del Cuerpo / The Body Speaks with us in Mexico. Now he is wowing audiences with his own dance and film making projects. He has a film he's promoting: Color Coded

Seeing her and teaching her at Juilliard, I knew she would be brilliant for Martha Graham’s work. I hired her, and she was. She has expanded her horizons since, bringing her dance, and teaching, and creative talent to far corners of the world and back to the US. A profoundly thoughtful and generous soul, she is wonderful to work with. Her brilliance in La Voz del Cuerpo/ The Body Speaks, and the Terpsikon is stunning.

Fellow Fellow at The Radcliffe Institute, she is a marvel of creative thinking, curiosity, passion and a brilliant scientist. Unable to stop talking, thinking, eating and doing during the Radcliffe year, we organized the symposium "Locomotion/Emotion; perception of complex movement and the dynamics of beauty" which now continues as the Dancing Leaf Group. Taking our ‘show’ on the road, we created programs bringing art and science together and had a ball drawing in these new audiences.

A renaissance man of wide vision, many talents, and big heart whose friendship I treasure. His choreography, sculpture, teaching, and design, are on a grand scale and filled with brilliant detail. His invitation brought me to Colima in 1998 where he was the director of Dance at IUBA (Instituto Universitario de Bellas Artes) at the University of Colima, and the Ballet Folklorico, which is internationally recognized for its authenticity, innovation, and the quality of its dancers and musicians. Bringing Graham to his dancers, and his dancers to me, was a gift that continues to inspire new creations and collaborations. His creative vision embraced my dream of a film, and because of him, La Voz del Cuerpo/ The Body Speaks, and the Terpsikon were born.

My better half, a brilliant polymath – carpenter, stage technician, technical director of dance companies, film editor. 'Mi vida'.