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| title:Dance Critic / Professor, Shoin University |
| The main activity base： Tokyo-to |
In the mid-1950s, while at Keio University, Akira Ichikawa （a.k.a. Makoto Urawa） studied ballet under Akemi Matsuo, the first Odette/Odile prima ballerina in post-war Japan, and was her principal partner in classical and modern dance pieces for nearly a decade. Around the same time, Ichikawa began publishing Illuminati and Nijusseiki Buyoh （Twentieth Century Dance） and also began writing for Ongaku Shimbun （Music Newspaper） under the name Makoto Urawa.
After a hiatus from the dance world, he became active again in the 1980s and started writing dance criticism for On-Stage News and other publications under the name Makoto Urawa.
In 2000, he became a professor at Shoin University （as Akira Ichikawa）. He specializes in corporate culture, management strategy and related subjects and has written extensively in these fields.
As an advisor for the Association of Public Theaters and Halls in Japan, Urawa organizes art management seminars and participates in the preparation of dance videos and pamphlets.
Makoto Urawa has held the following appointments: Agency of Cultural Affairs Art Encouragement Overseas/Domestic Study Program selection committee member, National Arts Festival judge, Arts Plan 21 Program Art Base Formation Project member and Japan Arts Fund judge. He has served on selection committees for the Matsuyama Ballet Company Award, the Akiko Tachibana Memorial Foundation Award, the Chieko Hattori Award, the Takaya Eguchi Award, the Suzuko Kawakami Award and the Einosuke Nakagawa Award. He has also served as a judge for Tokyo Shimbun National Dance Competition, Kobe National Dance Competition, Saitama National Dance Competition, Northern Kyushu & Asia National Dance Competition, NBA National Ballet Competition, Machida Dance Competition and other competitions.
Makoto Urawa contributes to The Tokyo Shimbun newspaper, On-Stage News, Dance Magazine, Ballerina e no Michi magazine, Video Corporation and Tokyo Dance Square websites (http://www.kk-video.co.jp
and http://www.ne.jp/asahi/tokyo.dance/square/, respectively）, and also reports on the general situation in the dance world for Buyoh Nenkan (Dance Almanac）, Ongaku Nenkan (Music Almanac） and Kokusai Engeki Nenkan (International Theater Almanac）.
Makoto Urawa hopes to become more active outside the narrow realm of dance and become involved in multidisciplinary arts activities internationally. He regards energetic business practices as vital to the future of the dance world as a whole, but is aware that overcoming and progressing beyond barriers of individuality and creativity in various fields is a formidable challenge. Makoto Urawa hopes to see greater efforts made in this respect.
