Dance In Israel » Adama

Nir Ben-Gal of Adama Gives an Inspiring Interview

Deborah Friedes Galili — Wed, 14 Jul 2010 06:10:27 +0000

Nir Ben-Gal and Liat Dror in Two Room Apartment. Courtesy Nir Ben-Gal and Liat Dror.

(This podcast was initially produced for Israel Seen in 2008. You can subscribe to this podcast using the iTunes software by clicking this link to the podcast feed.)

I still remember my visit to Adama in April 2008 quite vividly. After soaking in some of the calm of the dance center’s desert surroundings, I switched gears and entered a whirlwind of activity: taking class with Liat Dror, interviewing her, observing more goings-on, and improvising in an evening jam. As if the day wasn’t stimulating enough, I then sat down with Nir Ben-Gal for another interview.

When I turned off the digital voice recorder that evening at midnight, I offered Nir a heartfelt thanks for speaking with me. Not only had he been generous with his time and energy – we started the interview late at night, after he had led the warm-up for Adama’s spirited jam – but he was extraordinarily generous with his thoughts and his passion. Besides talking about his pathway into dance, his creative process, and the workings of Adama, Nir shared his outlook on dance, religion, culture, healing, and non-violence. It was an inspiring conversation that continues to surface in my thoughts even outside of my research. May you be similarly moved!

Video: Adama in Liat Dror and Nir Ben-Gal’s Airfield

Interested in visiting Adama? Adama is hosting a Magic Summer Night from July 16-17, which includes a performance of the company’s latest work.

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Liat Dror of Adama: Dancing from Tel Aviv to the Desert

Deborah Friedes Galili — Wed, 23 Jun 2010 05:40:22 +0000

Liat Dror. Courtesy of Nir Ben-Gal and Liat Dror.

(This podcast was initially produced for Israel Seen in 2008. You can subscribe to this podcast using the iTunes software by clicking this link to the podcast feed.)

The several hour trek south from Tel Aviv to Mizpe Ramon in the Negev desert is tiring, but at the end of the journey is a refreshing oasis: Adama, an extraordinary dance center created by Liat Dror and Nir Ben-Gal. I first experienced the magic of Adama during a two-day visit in January 2008 and was thrilled to return in April 2008 for some more dancing and an interview with each of these choreographers.

I interviewed Liat after she taught a dance class for the Adama school’s students, the company members, a group of photography students visiting from Sderot, and a few “tourists” like myself who had dropped in for a few days. The mixture of people was as unique as Adama itself. Intrigued? Join us as Liat talks about how she and Nir forged a new path in Israeli contemporary dance, moved to the desert, and developed an innovative approach to healthy, healing movement.

* * *

To catch a glimpse of Liat and Nir’s groundbreaking and prize-winning Two Room Apartment (1987), which we discuss in our interview, check out the first minute of this video. The rest of the video focuses on Nir and Liat’s current work in the desert, offering an inside look at Adama and scenic views of Mizpe Ramon.

Video: Liat Dror and Nir Ben-Gal

* * *

Adama’s dancers rehearsing in April 2008.

Adama is currently gearing up for a busy summer: the company runs a summer course from July 12-17 and a teachers’ course from July 25-28. Visitors may also enjoy Adama’s Magic Summer Night from July 16-17, which includes a performance of the company’s latest work.

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A Closer Look at Liat Dror and Nir Ben-Gal’s Adama

Deborah Friedes Galili — Sun, 14 Jun 2009 06:36:16 +0000

Video: An excerpt from Airfield, Liat Dror and Nir Ben-Gal’s latest creation

Nir Ben-Gal and Liat Dror first burst onto the stage with Two Room Apartment in 1987, and they continued to create a stir with their choreography throughout the 1990s. But when I got to Tel Aviv last year, the couple was nowhere to be found.

It’s not that Nir and Liat disappeared from the country’s dance scene. They just carved out a non-traditional space for themselves in Mizpe Ramon, a small desert town a few hours southeast from Tel Aviv. There, in a place they call Adama (“earth”), they live, teach, and create.

Occasionally the pair still brings their company to Tel Aviv for performances. After months of hearing a bit about Nir and Liat, I finally got to see their Prince Charming in November 2007 at Tmuna Theater. But to find out more about Adama, I decided to venture into the desert for a visit in January 2008. And then again in April 2008. And, well, again in June 2008.

I first wrote the article below for The Winger after my second stay at Adama.

* * *

My Visit to Adama (April 2008)

One of the spectacular views in Mizpe Ramon, in Israel’s Negev Desert.

The entrance to Adama, an old industrial hangar in Mizpe Ramon which has been converted into a dance center.

The grounds at Adama, complete with a garden tended by the dancers.

Indoor tepees for sleeping at Adama.

The lounge area near the large studio at Adama.

The dance jam session on Saturday night in the large studio at Adama.

I just returned from a brief trip to a magical place in the middle of the Negev desert. Situated in the town of Mizpe Ramon, the site of an enormous and beautiful crater, Adama (which means “earth” in Hebrew) is hands down the most unique dance center I have ever visited. Acclaimed choreographers Liat Dror and Nir Ben Gal left Tel Aviv in 1999 to forge a new path in the south of Israel, where they renovated an abandoned industrial hangar. Today, Adama has beautiful studios, welcoming lounges, communal sleeping spaces as well as more private indoor tepees and rooms made of mud, a vegetarian kitchen, a garden, and more . . .

Besides transforming the physical space around them, Liat and Nir have developed an approach to dancing which, coming from inside, is potentially healing for the body. When I took class from them on Sunday and Monday, I spent a lot of time with my eyes closed, tuning into my breath and weight. Liat prefaced a lot of her directions with “Very gently . . .,” while Nir frequently reminded us to move without effort and instructed us to walk softly, using the image of placing our heart in our feet. Although I was quite sore and tight at the end of last week, I have to say, I feel great now!

Like other visitors – the center often attracts individuals who drop in throughout the year as well as groups who come for special workshops – I was able to participate fully in the Adama school’s activities, which run from Sunday to Tuesday. Classes range from contemporary technique, yoga, flamenco, African dance, and aerial dance to reflexology and basket weaving (I got to watch a class on my first visit in January!). Sunday evenings always include an open dance jam, while Monday evenings often feature showings and discussions.

Before classes begin in the morning, everyone works on a variety of projects in the garden and on the grounds (this morning I lashed branches to a wooden structure to create some shade). Company dancers are also in residence on these days, taking and teaching classes as well as rehearsing for new productions. There’s a wonderful exchange of information and energy among all the people in this community – and indeed, with group meals, many inviting communal areas, and cozy on-site sleeping spaces, Adama feels very much like a community despite the ever-shifting makeup of its inhabitants.

I could go on and on about this marvelous place and my experience there, but I’ll stop for now. On this trip, I interviewed Liat and Nir for my podcast series, and soon I’ll post the audio here so you can hear them reflect about Adama themselves.

Many thanks to Liat, Nir, Reut, Etty, and everyone else at Adama for an unforgettable start to my week!

* * *

Upcoming Events at Adama

Adama is holding both a summer workshop (July 13-17) and a teachers’ course (July 26-30). Read more about these events at Adama’s website.

Dance in the Desert: Shavuot at Adama

Deborah Friedes Galili — Fri, 22 May 2009 06:59:22 +0000

Photo: At Adama’s Shavuot festival in 2008, dancers gathered around for an aerial dance workshop.

While some dancers and movers will gather at Vertigo Dance Company’s Eco-Art Village for the Hagiga festival during Shavuot, others will journey into the Negev desert for a different event: Adama’s Hagiga Levana (White Festival or White Celebration).

Adama is a unique dance center run by choreographers Nir Ben-Gal and Liat Dror (more on them and the center soon, I promise!). Last year, their Shavuot festival was called Dance in the Desert and was a collaboration with the Amuta or Choreographers Society. I attended the festival and made a photo journal called “Dance in the Desert” for The Winger; you can check it out below.

This year’s Hagiga Levana will be a smaller and more intimate festival than Dance in the Desert, but it should be no less warm and celebratory. Attendees can participate in workshops as well as find time for themselves to reflect in the peace of the desert. They’ll also enjoy a performance of the Adama company’s latest work. You can visit Adama’s website for more information on this Shavuot event, which will run from May 28-30.

* * *

Dance in the Desert (2008)

Here’s my view of Machol Bamidbar 2008, a collaboration between Adama and the Amuta:

After catching one of two buses chartered from Tel Aviv at 7 a.m. on Friday morning, we were met with this sign welcoming us to the Machol Bamidbar festival.

I think I have a sense of what heaven (or at least dance heaven) looks like.

From Friday through Sunday, I joined a few hundred wonderful people for Machol Bamidbar (Dance in the Desert) at Adama’s incredible space in Mizpe Ramon. Coordinated by the Amuta (Choreographers Society), the festival brought together many of Israel’s independent choreographers who work outside of the long-established troupes like Batsheva and the Kibbutz Contemporary Dance Company. Over 3 days, these choreographers presented 17 concerts featuring over 40 dances and improvisational works. The festival was also filled with more than 50 classes ranging from contemporary technique, improvisation, and repertory to Afro-Cuban dance, Gaga, flamenco, aerial dance, acrobalance, tai chi, yoga, Pilates, Feldenkrais, juggling, and special children’s classes. After the last performance of each evening, open dance jams stretched late into the night. It was definitely a weekend to remember!

Here’s a taste of what the festival looked like:

To camping! Signs were everywhere at Adama, directing attendees to studios, sleeping spaces, and makeshift cafes.

While some people came only for a day or returned to their homes each night, many people stayed at Adama for the entire festival. Some people brought their own tents and set up outside, while others slept in sleeping bags on mattresses spread out inside Adama’s hangar. It felt like an instant village!

Relaxing from the desert heat and sun. In between workshops and performances, we lounged here and ate yummy vegetarian fare. People caught up with old friends and made new ones.

Along with Adama’s usual arty decor, a dance photography exhibit lined the building’s hallways.

Dancers in one of many workshops. I myself took several classes: Liat Dror’s morning class; repertory classes with choreographers Niv Sheinfeld and Sahar Azimi; and a rep class with material by Liat Dror and Nir Ben-Gal, taught by dancer extraordinaire Ran Ben-Dror. Since there were 7 classes in each workshop slot, it was often hard to choose which one to attend – they all looked great!

Aerial dance students in action!

A crowd starts to gather before one of many performances. Besides the main stage, a more intimate space in the hangar next door hosted additional performances (again making it hard to choose . . .), and there were also showings of video dance. Before each concert, a pair of acrobats raced through the hangar, playfully announcing what would be happening in each concert space.

Dancing with a visiting troupe of drummers and dancers from Africa on Saturday night. One of the dancers was celebrating a birthday, and the company and crowd surprised her with a rousing rendition of “Happy Birthday” after their first dance. Besides this group from Ghana, a company of dancers from Japan (KAYM) was invited by Israeli choreographer Nimrod Freed, and they performed on Sunday.

It does seem like a taste of heaven, doesn’t it?

“Then and Now” Brings Old and New Together at Shades of Dance

Deborah Friedes Galili — Sun, 22 Mar 2009 17:13:05 +0000

Video: Then: Ronit Ziv’s Rose Can’t Wait, from the 1999 Shades of Dance Festival

On my way home from “Then and Now,” a special opening program of the Shades of Dance (Gvanim) festival, J.S. Bach’s Air on the G String played on my iPod. Immediately, images from a black-and-white film of choreographer Doris Humphrey’s Air for the G String flashed through my mind. Humphrey’s dance has not only been immortalized on film but stayed alive in reconstructions from Labanotation score; it’s a powerful reminder that choreography doesn’t need to be shelved a few years or even many decades after its premiere.

This was an appropriate vision after a concert which not only celebrated the new but paid tribute to the old. Opening a festival devoted to emerging choreographers, “Then and Now” featured excerpts of four dances which, in the days when the festival doubled as a competition, won the coveted first prize. Selections from Nir Ben Gal and Liat Dror’s Two-Room Apartment (1987), Noa Wertheim and Adi Sha’al’s Vertigo (1992), Barak Marshall’s Aunt Leah (1995), and Ronit Ziv’s Rose Can’t Wait (1999) shared the stage with excerpts from the choreographers’ latest dances.

These works were met with an extremely warm reception, and I’m sure that the choreographers’ own performances contributed to the excitement. The prolonged unison and matter-of-fact manners of Nir Ben Gal and Liat Dror, the high-speed actions and reactions of Noa Wertheim and Adi Sha’al, and the daring physicality of Ronit Ziv and fellow dancer Noa Rosenthal were riveting to watch – especially because, in the case of Nir & Liat and Noa & Adi, these choreographers no longer perform on a regular basis. (( Barak Marshall, who is now based part-time in L.A., was not in Israel for this performance. ))

Yet part of the thrill was the return of these older works to the stage. Other than Aunt Leah, which was restaged at the Inbal Dance Theater in autumn 2008, these dances are not in active repertory. Some devoted, longtime dance-goers may have remembered these works, but for many audience members, this was the first chance to see the highly original and even audacious dances which propelled these choreographers into the upper echelon of Israeli contemporary dance. The showing was also an extraordinary opportunity for me to reflect on the trademark styles and artistic development of these choreographers, to better understand their more recent works which have graced the stage in the last two seasons.

There simply aren’t enough occasions to see older works here in Israel. A few of the larger groups like the Batsheva Dance Company and the Kibbutz Contemporary Dance Company have happily shown some repertory from decades past (albeit sometimes in excerpt form, as when Ohad Naharin recombines parts of various pieces in Deca Dance). Yet most choreographers who work outside of these institutions are primarily putting their most recent works onstage, perhaps because of more limited resources and a series of festivals which spur the creation of new works. If the choreographers themselves don’t mount their earlier dances, no one else will. The country does not have an established repertory company whose mission is to celebrate Israeli-made choreography both past and present. Nor is there a network of university dance departments which might reconstruct earlier dances or invite choreographers to set their older repertory on students, as there is in the U.S. (( There are many fine high school dance departments in Israel and they do often bring in independent choreographers, but these departments are rarely if ever staging older works from the 1980s and 1990s. ))

If this system continues unchanged, the early – and in some cases significant – works by Israel’s contemporary choreographers may be lost. But I believe this is avoidable. While modern dance’s roots in this region stretch as far back as the 1920s, the real blossoming of Israeli contemporary dance is not that distant. It is far easier to unearth a dance made twenty years ago than one created eighty years ago. Indeed, the Israeli artists who, during the 1980s and 1990s, triumphed in establishing a thriving independent dance scene are still active in the field and capable of setting their early choreography given the opportunity.

Don’t get me wrong: I’m certainly in favor of celebrating the new. The constant push for creation advances the art form forward; to only perform older work would lead to stagnation. Yet I believe that the field could benefit from the revival and repeated performance of earlier works, which can educate and inspire audiences and dance professionals alike.

I hope that Shades of Dance will make this opening performance of old and new works a tradition so that we can witness the power of choreographic breakthroughs firsthand. Twenty years from now, perhaps audiences will be treated to another viewing of Shaked Dagan’s We Are Going Back, Michael Miler’s The Speed of Light, or Ronen and Tami Yitzhaki’s This Time, which premiered in this year’s festival and caught my eye. And I wish that more support – be it through festivals, dance departments, or other funding mechanisms – will enable choreographers to restage their acclaimed earlier repertory sooner rather than later. Dances which merit a place in history also deserve to live in the bodies of dancers and the eyes of viewers.

Video: Now: Ronit Ziv’s La Femme A, La Femme B

Behind the Scenes at Gvanim: Shades of Dance Festival

Deborah Friedes Galili — Tue, 17 Mar 2009 13:18:05 +0000

Michael Miler’s The Speed of Light will be performed in program 1 of Shades of Dance. Photograph by Eyal Landesman.

Last Saturday night was chilly and wet, but despite the discouraging weather conditions, I bundled up and trekked down to the Suzanne Dellal Center. Choreographer Micheal Miler of Haifa’s Sigma Ensemble had invited me to a rehearsal for the Shades of Dance festival (called Gvanim in Hebrew). Shades of Dance is mounted biennially, and since last year was an off year, I had effectively been waiting to attend the festival for over a year and a half. A little rain wasn’t about to stop me from this special sneak peak.

Since its inception in 1984, Shades of Dance has showcased artists who are relatively fresh to the field of choreography. It has helped launch the careers of some of Israel’s best-known choreographers including Yasmeen Godder, Inbal Pinto, Emanuel Gat, Ronit Ziv, Barak Marshall, Renana Raz, Shlomi Bitton, Anat Danieli, Itzhik Galili, Sally-Anne Friedland, Yossi Yungman, Tamar Borer, Liat Dror and Nir Ben-Gal of Adama, Noa Wertheim and Adi Sha’al of Vertigo Dance Company, and Yoram Karmi of Fresco Dance Group.

Perhaps this is why my anticipation of this festival feels different: I can’t help but wonder what new choreographic voices will be revealed this year. A mind-boggling 80 dances were submitted to the festival’s selection committee, composed of artistic director Hanoch Ben Dror with Ya’ara Dolev, Sally-Anne Friedland, Renana Raz, and Niv Sheinfeld. I’m looking forward to seeing what sets the 10 chosen works apart from their competition when the 15th Shades of Dance festival opens this week.

Left to right: Shaked Dagan’s We are going back is in program 3; Anat Va’adiya’s Ashetish is in program 1. Photographs by Eyal Landesman.

If the rehearsal I saw was any indication, this year’s festival has a batch of promising choreographers with very diverse aesthetics. Michael Miler’s The Speed of Light is one of the most abstract works I have seen since moving to Israel, and it is thoroughly absorbing. Clad in dark skinny jeans and colorful athletic jackets, Miler and seven other talented dancers maneuver skillfully through a sophisticated movement vocabulary. As they swiftly skate across the floor and slide to the ground, they appear to be constantly gauging the changing formations of their fellow performers.

The relationship between dancers Adam Ben Zvi and Idan Porges in Shaked Dagan’s We are going back is equally engaging. At times the well-matched men create a stop-frame effect with their cleverly-timed partnering; at other times they move hypnotically in slow motion.

The other two pieces I saw at Saturday’s rehearsal were worlds apart from each other in their tone. While choreographer/dancer Anat Va’adiya established an unsettling mood for her solo, Dafi Altebab used text and motions from a flight safety presentation to humorous effect in her trio’s quirky scenario.

Dafi Altebab’s new work is in program 3. Photo by Eyal Landesman.

While I wish I could have stayed for the remainder of the rehearsal, I left early to attend another performance at the Home Port festival. I suppose that after waiting a year and half to attend Shades of Dance, another few days is bearable! The festival opens on Wednesday, March 18 with with excerpts of old and recent works by former Shades of Dance participants Nir Ben Gal & Liat Dror, Noa Wertheim & Adi Sha’al, Ronit Ziv, and Barak Marshall. Then three programs shown back-to-back on Thursday night and Friday afternoon will present the new works from this year’s harvest.

Here are a few more sneak peaks of what will be onstage in the three programs of Shades of Dance 2009:

Anat Meirav’s is in program 2. Photographs by Eyal Landesman.

From left: Galit Hazor’s Blind Spot is in program 3; Tami and Ron Yitzhaki’s work is in program 2. Photograph by Eyal Landesman.

Shir Medvetsky’s solo is in program 3. Photograph by Eyal Landesman.

From left: Ron Amit and Mor Shani’s Lu Carmela; Or Marin’s vanishing point. Photographs by Eyal Landesman.

Surveying Dance Technique in Israel: A Report from the Studios

Deborah Friedes Galili — Sat, 22 Nov 2008 20:39:29 +0000

(A studio at Adama in Mizpe Ramon)

Right now I am spending my time in Hebrew ulpan rather than the dance studio, but last year I happily spent my first few months traipsing from studio to studio. I was fortunate enough to return regularly to several teachers while funded by my Fulbright grant, including some of those mentioned in “Surveying Dance Training in Israel: A Report from the Studios.” Over the course of the year, my impressions of technique styles and influences developed not only through my continued attendance but through conversations with my teachers. You will get to hear from some of these artists themselves in my podcasts and in write-ups of interviews, but for now, you can read my first impressions as a newcomer to Israeli studios.

I first wrote this post on November 6, 2007 for my own blog.

* * *

Besides attending concerts and meeting dance scholars, I am busy investigating technique classes in Tel Aviv. I am attempting to do my initial survey in a relatively methodical manner, working my way slowly from studio to studio and taking classes labeled modern (מודרני – “moderni”), contemporary (עכשווי – “achshavi”), or release (רליס – “release”) before plunging into the world of Gaga, a technique developed by Ohad Naharin, or indulging myself with a ballet class.

I suppose this is as good a time as any to quickly summarize my own physical background as a dancer, since it certainly colors my perception of the classes I am taking here. I trained in ballet for 12 years and had small tastes of Graham, Taylor, and Limón-flavored modern dance before abandoning my pointe shoes completely in college. My modern dance education continued with those mainstream flavorings, and I also studied a lot of Cunningham technique in graduate school. In the last few years, however, I have branched out and taken more release or release-influenced classes, primarily with Bebe Miller and Michael Estanich at The Ohio State University. Thus I am familiar with a range of styles, but I am still figuring out the boundaries of release and finding our how my body operates within this framework.

Back to Israel:

In early October (2007), I took classes from Gilat Amotz (גילת עמוץ), Shimrit Kobalio (שמרית קובליו), and Shlomit Fundaminsky (שלומית פונדמינסקי) at The Group in Jaffa (הקבוצה ביפו, HaKvutza B’Yafo). Next I took a class from Coralie Ladam (קוראלי לאדם) and another from Inbal Aloni (ענבל אלוני) at Noa Dar’s studio (סטודיו קבוצת מחול נוע דר), which is just 10 minutes away from my flat in central Tel Aviv; Shlomit Fundaminsky also teaches there. On Sunday I took a release class with Yasmeen Godder (יסמין גודר) at her studio in Jaffa, and yesterday I went to the studios at Suzanne Dellal for a class with Niv Sheinfeld (ניב שינפלד). The one exception to my modern-contemporary-release rule was a technique/improvisation class given by Ilanit Tadmor (אילנית תדמור) at Studio Play, in which we joined together in some particular stretches and exercises but primarily explored specific concepts through guided improvisation.

With the exception of Coralie Ladam, who moved here from France two years ago, all of the teachers I have studied with are Israeli. Several of them are choreographers (at least Godder, Sheinfeld, Amotz, Fundaminsky), and many of the teachers perform either with their own groups or with other companies. While some of their classes – especially Yasmeen Godder’s – were tailored to advanced dancers, others were geared specifically towards an adult population (Niv Sheinfeld’s) or a broader, mixed-level group. Despite these differences, I was able to observe many similarities among the classes.

Whether or not the classes were explicitly labeled as or described with the term “release,” all of them seemed heavily influenced by release work (I couldn’t resist that phrasing . . . ). With the exception of one or two classes that began with guided improvisation, most began with floorwork incorporating Bartenieff Fundamentals exercises (working in the X, warming up the head-tail connection, femoral flexion, knee drops building into gentle leg swings, etc.) and yoga (downward dog, warrior poses, etc.). (Editor’s note: I perceived many exercises as Bartenieff-related because of my own experience in the Fundamentals, which I studied in graduate school. However, none of my teachers have talked specifically about Bartenieff as a direct influence.)

Next the classes progressed to some standing exercises: pliés; perhaps some rolling down the spine and swings; footwork; etc. A few classes included brief traveling exercises across the floor, several featured a walk or two around the room so we could sense our bodies in the space, and all culminated in phrasework. Shared principles included an emphasis on connectivity among body parts, a focus on ease of movement, and a general privileging of energy flow and momentum over particular shaped positions. Upon learning that I was not fluent in Hebrew, all of the teachers gave at least part of their instructions in English, and at times they verbally referenced very familiar concepts such as head-tail or sits-bones-to-heel connections. Some also encouraged us to assess how our bodies felt after specific exercises.

As I take more classes with each of these teachers, I am sure I will pick up on the nuances of their individual teaching and movement styles. So far, Niv Sheinfeld’s appeared to the most differentiated from the bunch, with fewer, less overt yoga and Bartenieff references (though perhaps some references to qi gong); at times, shapes were quite important, but this positional specificity was within the context of his quirky phrasework which, like his full choreography, was imbued with clear intention. I plan to talk to each of these teachers about their influences, styles, and preferred labels, and I hope that these conversations in English will allow me to move beyond language barriers and class population differences to more fully understand their approaches.

There are still a few studios I have yet to visit, such as Studio Naim, Bikurei Haitim, and Studio B, and there are a couple of teachers I have not met at the venues I have frequented thus far, so my quest continues . . .

* * *

Interested in taking dance classes in Israel? Check out our resource page, Studying Dance in Israel, for more information.

*This post was made possible thanks to a Fulbright student grant funded by the U.S.-Israel Educational Foundation and hosted by the Jerusalem Academy of Music and Dance.

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*This post was made possible thanks to a Fulbright student grant funded by the U.S.-Israel Educational Foundation and hosted by the Jerusalem Academy of Music and Dance.