Michael Mao’s choreography

has been presented throughout the USA, throughout Mexico, in China, in Paris, Oslo, Hong Kong, Stockholm, Italy, and in Edinburgh, UK.  He has received grants from the National Endowment for the Arts, New York State Council on the Arts, New York City Department of Cultural Affairs, corporations and foundations.  His choreography has received funding from the Polaroid Foundation, the Dolfinger McMahon Foundation, and the American Dialogue Program, a project of the National Task Force on Presenting and Touring the Performing Arts funded by the National Endowment, the Pew Charitable Trust, and the Rockefeller Foundation,  Mostly recently from the George Soros Open Society Foundation.

Mao’s works have been commissioned by Café de la Danse, Paris, France, Festival Internaciónal Cervantino, Mexico, Tennessee Children’s Dance Ensemble, which danced his Song of Helena at the ’96 Holocaust Conference. He has also set Moonlight Sonata on Hong Kong Ballet. Michael's FireCracker™, a 1930’s Shanghai-Jewish setting of “The Nutcracker,” opened at the PerformIng Arts Center, Purchase, New York in December 2002, In 2002-2003 FIRECRACKER™, along with Murder in Buenos Aires and Moonlight Sonata toured Beijing, Shanghai, Guangzhou, Nanjing, and Suzhou. Michael’s works have also toured Mexico, Europe, throughout the United States and in 2009 and 2010, Edinburgh, United Kingdom.

        Mao’s works have been presented in New York City at Dance Theater Workshop, Riverside Dance Festival, Kaye Playhouse, Joyce Theater, Tribeca, City Center DanceSpace, LaMama, Bryant Park, Chelsea Art Museum, China Institute, Children’s Museum, Madison Square Garden, and the Pepsico Theater in Purchase, NY. His works toured throughout the US, in Mexico, in China,  in Paris, Oslo, Hong Kong in 1995 and to Edinburgh, UK.

        From 1994 through 1996 Mao’s decades long concept of transposing The Nutcracker for a Chinese-Jewish setting for New York was crystallized into The Firecracrker™-- A Chinese New Year Nutcracker©. FIRECRACKER™ was pitched at ISPA 1999 NYC, and in December 1999 the fully produced show went up at the Pepsico Theater at Purchase, NY, with the voice of B.D.Wong for narration, set design by Ming Cho Lee, costume design by Linda Cho, Lighting by Brian Haynworth and Jonathan Faiman as Music Director. In December 2002 Firecracker™ toured Beijing, Shanghai, Nanjing, Suzhou and Guangzhou. Michael Mao’s Original FIRECRACKER™ will tour North America in 2013. 

        Michael performed for Judson choreographers Toby Armour, James Waring, Aileen Passloff, Remy Charlip and was in works by Carolyn Brown who was Merce Cunningham’s dance partner, Becky Arnold of the Grand Union, Twyla Tharip in her Medley, and Graziela Daniele for Sarah Caldwell’s Die Fledermaus. He trained at the Martha Graham School of Contemporary Dance, Joffrey Ballet School, Cunningham Studio and with Ted Shawn on Jacob’s Pillow. He also studied with David Howard, Zena Rommett, and in Spanish Dance with Manolo Vargas.

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“Michael Mao reflects the diversity, the energy and the talent of America. His works have been appreciated by enthusiastic audiences across the United States and Overseas. Now, audiences in China will enjoy the same experience, and Michael Mao Dance will serve as a bridge between China and America.” Embassy of the United States of America, Beijing “Out of view a soft New York accent says something, the meaning of which escapes the casual observer. but whatever is said certainly has an effect on the dancers. Slowly, they raise their heels up. The rising movement continues until each dancer’s feet are vertical. It looks effortless. Against logic and common sense the dancers are now standing on the ends of their toes. The effect is magical. For a moment they stay extended, balanced on those toes. In perfect equilibrium, defying gravity, transcendent. And then the instant is over as the dancers slowly re-descend gracefully to earth. Big grins break out.” Hong Kong WINDOW “Mao combines a distinctly personal blend of styles, dramatic themes and post-modern choreographic devices.” Ballet News “A product of the American Modern Dance tradition, Michael Mao stands on his own two feet.” Arbeiderbladet “Mao’s choreography captures the brimming exuberance of Mendelssohn’s music.” New York Times “Michael Mao’s choreography enters a refined domain of corporeal language, close to the refined subtlety of Alvin Nikolais or Martha Graham.” El Naciónal “Exquisitely crafted work...satisfying in its suave beauty and control of figures in space.” Village Voice “Stark visual imagery...bold narrative content...a symbiosis of rare power.” St. Louis Post-Dispatch “After a successful run in Beijing, America’s immigrant Choreographer brings 24 multi-racial dancers to his birthplace.” Shanghai Daily “Mao has achieved what many artists in Shanghai are searching for: a style which can best be described as cosmopolitan,a style which, while personal, speaks to both Eastern and Western sensibilities.” Wen Wei Bao

        Michael’s work with teen immigrants has been supported by the New York State Council on the Arts, the New York City Department of Cultural Affairs, and the National Endowment for the Arts. His ESLdance™ – Learning English Through Dance – was designated in 1999 by the National Endowment for the Arts as a Model Program to be replicated nationally. Michael has been a panelist for the National Endowment for the Arts, the New York State Council on the Arts, NYC Department of Cultural Affairs, the Lower Manhattan Cultural Council, the Mid-Atlantic Arts Alliance, Pennsylvania On Tour, and Center for Arts Education. He is on the Board of Directors of New York State Alliance for Arts Education, and a member of the New York City Board of Education’s Blueprint Committee for Dance, and continues to be a facilitator for its professional development projects.