Dance In Israel » Deca Dance

Invitation to a Lecture at Emory University on American and Israeli Dance

Deborah Friedes Galili — Sat, 20 Feb 2010 16:40:06 +0000

Video: Cedar Lake Contemporary Ballet performing Ohad Naharin’s Decadance

If you’re in Atlanta, Georgia – or if you know someone in Atlanta – here’s a heads up:

I’m happy to announce that I am speaking in the Emory Friends of Dance Lecture Series on Wednesday, February 24 at 7:00 p.m. (Eastern Standard Time). My talk, Foreign Exchange: American and Israeli Dance from Martha Graham to Ohad Naharin, will precede a performance by Cedar Lake Contemporary Ballet of Ohad Naharin’s Decadance. I won’t be in Atlanta in person, but I will be speaking via Skype and have an exciting presentation prepared!

Cedar Lake performing Ohad Naharin’s Decadance. Photo by Paul B. Goode.

Here’s the official blurb about my lecture:

Forty years ago, Israel’s premiere dance company imported works by top American choreographers. Now cutting-edge American troupes like Cedar Lake Contemporary Ballet are drawing crowds with choreography by Israeli artists. In this lecture, dance scholar Deborah Friedes Galili explores the dynamic relationship between American and Israeli dance and traces the meteoric rise of Israeli contemporary dance. This lecture will be presented live from Israel via webcam prior to the performance by Cedar Lake Contemporary Ballet.

Cedar Lake performing Ohad Naharin’s Decadance. Photo by Paul B. Goode.

My lecture is free and open to the public, so if you’re in Atlanta, I hope you will come listen in the Chase Lobby at the Schwartz Center for Performing Arts, 1700 N. Decatur Road. I will speak for one half hour, and then there will be a question and answer session. Please let others know about this event as well!

Batsheva Dance Company: From Graham to Gaga

Deborah Friedes Galili — Mon, 21 Sep 2009 06:14:43 +0000

Rachael Osborne and Iyar Elezra in Ohad Naharin’s Hora. Photo by Gadi Dagon.

I first wrote the article below for the Forward last winter, when the Batsheva Dance Company toured North America in three large-scale productions. Now, right before New York audiences catch Ohad Naharin’s duet B/olero in City Center’s popular Fall for Dance festival, I decided it was time to revisit this piece.

Fall for Dance features an array of internationally-renowned companies, and while Batsheva has boasted a world-class reputation since its inception, its style and structure have changed dramatically over the last few decades. This article, originally titled “Going Gaga for Batsheva in America,” traces Batsheva’s transition from a strongly American-influenced company to the more distinctive troupe which has captivated contemporary audiences.

Going Gaga for Batsheva in America

Since its first tour of the United States in 1970, Israel’s Batsheva Dance Company has won over American crowds and critics alike with its energetic approach to dance. At the time, it was, perhaps, a novelty: an Israeli group performing primarily American repertory with unbridled verve and vigor. But in the past 18 years, the company has become a phenomenon of a different sort. The Batsheva Dance Company, which is currently crisscrossing North America, is widely recognized as one of the world’s top dance ensembles, featuring audacious choreography with inventive movement.

Founded in 1964 with the financial backing of Baroness Batsheva de Rothschild, Batsheva began as a repertory company in the American mold. Martha Graham, a founding mother of American modern dance and a beneficiary of de Rothschild’s patronage, served as artistic adviser. The Israeli dancers trained intensively in Graham’s technique and channeled both their physical power and their emotional passion into some of the choreographer’s most acclaimed works. With many of Graham’s disciples contributing to Batsheva’s repertory, the Tel Aviv-based company was part of American modern dance’s family; New York Times critic Clive Barnes even called Batsheva’s members “the Israeli children of American dance” upon seeing the company’s American debut.

Though Graham’s direct influence on the company lessened in the late 1970s, the troupe continued to import its rotating cast of artistic directors and most of its choreographers from abroad. In the 1980s, though, the Israeli team of David Dvir and Shelley Shir assumed the helm. There were some important shifts during this decade: Ballet eclipsed Graham technique as the company’s preferred training, and more Israelis joined the roster of contributing choreographers. Yet despite outstanding dancers and well-crafted repertory, Batsheva appeared to some observers to be a company sailing on its strengths rather than forging ahead into artistic frontiers.

This changed in 1990, with the appointment of Ohad Naharin as artistic director. Naharin was no stranger to the Batsheva Dance Company; he started his dance career with the group and was cast almost immediately as Esau in Martha Graham’s Jacob’s Dream, which Graham choreographed in 1974 for the company’s 10th anniversary. Although Naharin soon departed for New York to study and perform with Graham, he returned periodically to choreograph for Batsheva.

Indeed, by the time Naharin accepted the post of artistic director, he had made a name for himself as a choreographer on three continents. Besides his work with Batsheva and with the Kibbutz Contemporary Dance Company, Naharin created dances for his own pick-up group in New York City throughout the 1980s. In 1987, Jiri Kylian, one of Europe’s pre-eminent choreographers, invited him to the Netherlands to be a guest choreographer at the Nederlands Dans Theater. By then, marvelously textured movement and a mesmerizing signature fluidity in the spine and limbs already characterized Naharin’s work.

Thus, Naharin returned to Tel Aviv with a well-developed choreographic voice that became an integral part of his sophisticated artistic vision for Batsheva. He assembled a rich blend of repertory from the cream of the crop, inviting such luminaries as Kylian, William Forsythe, and Angelin Preljocaj to work with the company. Fresh Israeli choreographers like Itzik Galili, Anat Danieli and Inbal Pinto also peppered the group’s offerings, but the base was always Naharin’s own work. He set several of his earlier creations from America and Europe on Batsheva, and he choreographed new dances including Kyr, Mabul, and Anaphasa. With Naharin’s distinctive choreography as a backbone, the company was rejuvenated and redirected on a more coherent path.

Naharin further revamped Batsheva in the past decade, abandoning the repertory model that it had followed from its inception. Now, the company is devoted to performing Naharin’s creations, as well as works by house choreographer Sharon Eyal, who as a dancer has been one of the most articulate interpreters of Naharin’s work. This refined focus strengthened Batsheva’s identity with an unmistakable aesthetic that in turn propelled the company to the peak of contemporary dance. Over the past several years, the unique physicality of Batsheva’s dancers has enthralled viewers and created significant buzz in the dance world.

Ohad Naharin and dancers during the 2009 Gaga Intensive. Photo by Gadi Dagon.

The key to this distinguishing feature is Gaga, a method of training developed by Naharin since the 1990s. Gaga is radically different from most dance training. The mirror is banished from the studio, and dancers do not perform specific combinations of movement but instead respond to verbal instructions; these prompts can call attention to specific body parts, actions or qualities. This exploration arms the Batsheva dancers with an extraordinary range of movement that stretches beyond that fostered by traditional training methods. Smooth, sharp, strong, soft, shaking — the dancers have a full toolbox of textures that they can apply to their pliable bodies.

Yet it’s not just the range of textures that is so striking; there’s something special about how fully Batsheva dancers bring themselves to performances. In 2008, Naharin wrote about Gaga, “We learn to love our sweat, we discover our passion to move and connect it to effort, we discover both the animal in us and the power of our imagination.” Even as Gaga readies the dancers for Naharin’s and Eyal’s choreography, it also tunes them into their individual selves; it engages their thoughts and emotions, as well as their bodies.

Through Gaga, Naharin and his troupe have harnessed and explored the remarkable energy that has been a defining feature of the Batsheva Dance Company since the 1960s. This energy is systematically and breathtakingly deployed in Naharin’s choreography, and it enlivens all the works the company is now performing, from the spare Three to the eclectic Deca Dance to the compositionally layered MAX, which closed Batsheva’s last North American tour at the Brooklyn Academy of Music. And it’s this energy that electrifies — and moves — not just the dancers, but also the audience.

Ohad Naharin in America: “Out of Focus” Documentary

Deborah Friedes Galili — Mon, 27 Apr 2009 19:34:09 +0000

(Video: Excerpt from Tomer Heymann’s Out of Focus)

More and more video cameras are making their way into dance studios as choreographers seek to document their work. Usually the footage remains in personal or company archives, unseen by outsiders. But the film Out of Focus offers the public a peek inside the process of Ohad Naharin, artistic director of Israel’s Batsheva Dance Company.

In 2007, filmmaker Tomer Heymann focused his lens on Naharin as the choreographer coached New York’s Cedar Lake Contemporary Ballet in Deca Dance. Besides close up views of the choreography, Heymann’s Out of Focus includes interview clips with Naharin. With bits of conversation set against the sometimes bustling backdrop of the studio, the discussion feels particularly fresh, open, and honest.

While the Batsheva Dance Company recently displayed Naharin’s repertory on tour in the U.S., Heyman’s behind-the-scenes documentary has been seen primarily in Israel. Now, though, Out of Focus is coming to New York. 92YTribeca’s screening on April 30th will include a special appearance by Heymann himself.

“MAX” – Connecting to Ohad Naharin’s Choreography

Deborah Friedes Galili — Fri, 20 Feb 2009 11:00:24 +0000

(Video: A trailer for BAM’s presentation of Batsheva Dance Company in Ohad Naharin’s MAX)

This is an excerpt from “Two Views of Batsheva: Ohad Naharin’s Furo and MAX,” which was published on The Winger on May 17, 2008. The Batsheva Dance Company will perform MAX in Santa Barbara (Feb. 24), San Diego (Feb. 26), Los Angeles (Feb. 28 – Mar. 1), and Brooklyn, NY (Mar. 4-7).

* * *

During the brief blackouts in Ohad Naharin’s MAX, I quickly tore my eyes away from the stage to steal glances at my friend Nitzan. Each time I caught variations of the same expression on his face: eyes wide with amazement and mouth stretched into an even wider grin.

I’ll be the first to admit that I’m a bit of a “dance dork” (a few of my friends and I threw around this term frequently during graduate school). With my penchant for dance history and analysis, I’m probably not the typical audience member. Give me a brilliantly-crafted piece and I will fall in love, counting the ways in which the choreography captures my attention and my affection.

Love at first sight is possible in the arena of dance, but sometimes even the most excellent work takes a bit of time to win over my heart fully. Such was the case with Ohad Naharin’s MAX. I first saw MAX in December, and due to fatigue, I didn’t take in the dance with the freshest eyes. When I re-read my files before this second viewing, I saw that I had taken only a few hasty notes which focused on extremely satisfying sections marked by fine compositional structure. But after tonight’s performance of MAX, I’m in love. At least in my eyes, the work as a whole is indeed brilliant.

Photo: Ohad Naharin’s MAX. Photo by Gadi Dagon.

MAX’s movement is mesmerizing and wide-ranging, from tightly gestural to gloriously full-bodied, from slow and steady to sudden and speedy. At times the dancers work with a meticulous sense of control, while at other points they perform with breathtaking abandon.

While inventive and well-executed movement alone can captivate me, MAX also offers plenty of compositional excitement (I told you I was a dance dork!). The pacing of this work was for me, in a word, perfect. Naharin often indulges in one compositional mechanism for longer than many other dancemakers, but the choreographic technique never overstays its welcome – it just blossoms fully.

Here’s one example: a dancer tilts wildly out of kilter in a virtuoso solo and then is swept into an explosion of movement from the company, which is scattered across the stage in small groups, each of which has its own phrase; together, the ensemble paints the space with their bodies, arms and legs leaving traces of motion behind them. Out of this grows another solo, which again dissolves into the company’s grouped dancing. After only a few cycles I know what to expect, but my mind still delights in searching for the start of each solo and enjoys the wash of movement from the group.

Here and elsewhere, Naharin senses the right moment for a shift and recharges my attention. Sometimes blackouts clear the slate, but more often my eyes are refreshed by extreme juxtapositions: stillness and motion; unison and organized chaos; slow and fast; small and large; smooth and sharp; full ensemble sections and trios or solos.

MAX excited me but in a different way than some of Naharin’s more overtly theatrical productions like Deca Dance, Zachacha, and Anaphase. Deca Dance, for one, is absolute fun – I’ve seen it win over several audiences easily. But MAX is in another category. It doesn’t have the theatrical elements which can engage less-seasoned audience members. There is no set, no narrative, and no characters (though for me the gestural motifs, repeated tableaux, and chanting create a sense of a tribe with its own unique rituals). There are no displays of emotion despite one usage of a smile. The dancers are dressed in simple shorts and tanks rather than more elaborate costumes.

Furthermore, MAX itself is not an “easy” work. The sound score is challenging. Melodious music played by traditional, recognizable instruments is replaced by low unidentifiable sounds, grating industrial noises, deep eerie male voices speaking in an invented language and droning in counting sections, and long periods of silence. Some people might consider the movement aesthetic challenging as well; there is no attempt at the prettiness of ballet or of some modern techniques despite the inclusion of recognizable classical positions. And in a work that centers so much on composition, the choice of choreographic tools might also prove taxing to certain audience members. The frequent usage of movement accumulations, with repeated movements building into longer and longer phrases, may wear on some viewers’ eyes.

So I while I loved the structure and was moved by MAX, I found myself wondering on what level Nitzan (or any non-dance dork) was connecting to the work. Were less seasoned dance viewers enjoying the work’s formal elements? Would they too be moved by the dance?

The answer: yes. The audience clapped enthusiastically for several sets of bows. And as Nitzan’s animated facial expressions suggested, he did indeed enjoy the concert. We talked excitedly about the choreography and the performance of it as we meandered back towards our neighborhood, and without my even asking, he talked poetically about how he connected to the work. MAX was, he said, “Food for the soul.” You can’t get much better than that!

Articles on MAX from the Dance Blogosphere

“Batsheva’s MAX” – Tonya Plank at Swan Lake Samba Girl
“Batsheva Performs MAX at BAM” – Evan at Dancing Perfectly Free
“Batsheva Didn’t Blow My Mind this Time” – Wendy Perron’s blog at Dance Magazine

Ohad Naharin’s “Deca Dance” in Israel: A Cycle Completed

Deborah Friedes Galili — Tue, 27 Jan 2009 15:00:16 +0000

(Video: The Batsheva Dance Company in Deca Dance)

Whenever possible, I try to publish my writings from last year in conjunction with a related event that’s happening now. As the Batsheva Dance Company embarks on an extensive North American tour and takes Ohad Naharin’s Deca Dance on the road, it seems like the right moment to re-post my writing on the work.

I first published this article as “A Cycle Completed: Deca Dance in Israel” on The Winger on July 11, 2008.

* * *

It’s fitting that I saw the Batsheva Ensemble perform the latest version of Ohad Naharin’s Deca Dance at the Suzanne Dellal Center last week. You see, Deca Dance is the piece that drew me here to Israel. I wrote my Fulbright grant proposal having only seen the Batsheva Dance Company perform an earlier incarnation of this work (albeit 3 times). I hadn’t seen any of Naharin’s other dances, nor had I seen any other Israeli companies. Now – 4 years after I last saw Deca Dance, 9 and 1/2 months after landing in Israel, 2 days after finishing the term of my Fulbright grant, and 90-some dance concerts later – I feel I have come to the end of a cycle.

I set out to learn about the wider field of Israeli contemporary dance, and although there is still more to explore, I have a much deeper understanding of dance’s history in Israel as well as the scope of the field today. I devoted a considerable amount of time to independent choreographers and to companies other than Batsheva, but again and again, my attention returned to the origin of my interest, the center point of Israeli contemporary dance.

With many avenues of entry, my research on this company was extraordinarily rich. To learn about the past, I sorted through files of newspaper clippings, viewed old repertoire on video at the Dance Library of Israel, and heard Batsheva’s history retold by former dancers and directors. To learn about Batsheva’s more recent years, I traveled with the Batsheva Ensemble, spoke with company dancers and ensemble members, studied Gaga, and attended live performances: Ohad Naharin’s Kamuyot, Zachacha, Seder, MAX, Shalosh, and Furo; Sharon Eyal’s Bertolina and Makarova Kabisa; and several evenings featuring short creations by company dancers.

And then came Deca Dance.

Just as I have changed, so too has Deca Dance, an unfixed assemblage of excerpts from Ohad Naharin’s repertory. Sure, there were some old favorites which I recognized from past versions, most notably the accumulative “Echad Mi Yodea” segment and the perennial crowd pleaser, “Dancing with the Audience” (and at this show the audience members invited onstage were more than willing to participate, with one man hamming it up to great applause).

But much of this Deca Dance was built from segments of the more recent MAX, Shalosh, and Seder – none of which existed when I last saw Deca Dance in 2004 – and there was even a brand new female duet to an unusual rendering of Ravel’s “Bolero.” Having seen these later works multiple times, I found myself engaged in an interplay with this new Deca Dance: expecting certain sequencing, guessing what would come next, cataloging where I had seen each segment. The direct contrast of these excerpts next to older sections and the absence of other portions that I remembered from my previous Deca Dance viewings provided a chance to reflect on what I perceive as a shift in Ohad Naharin’s choreography towards sparer works which emphasize marvelously textured movement and finely tuned compositional forms over theatricality.

As I place Deca Dance within the context of Naharin’s repertory, Batsheva’s history, and the larger frame of Israeli contemporary dance, I realize how much I have gained from my research. I love being able to look at a dance from different angles, and with the information I have gathered, I now have a tempting menu of choices for how to view each performance.

I also have had the pleasure of watching the same dancers develop over the course of the season and talking with them offstage. As I’m sure many of you know, it’s a delight to watch dancers that you know, to seek them out during the sections at which you know they excel, and to find your attention captured unexpectedly by them when they perform something with added nuance or new skill.

A part of me wishes that my Fulbright could continue – after all, it’s been a dream to structure my own time and pursue independent research with few restraints! – but I am blessed with the gifts of this grant as I complete this cycle and start the next.

* * *

You can see the Batsheva Dance Company’s production of Deca Dance in Houston (January 28), Philadelphia (February 3), Chicago (February 7), Ann Arbor (February 15), and Vancouver (February 20-21). The company will perform Shalosh (Three) and MAX in other locations throughout North America.

Getting to Know the Batsheva Ensemble

Deborah Friedes Galili — Mon, 05 Jan 2009 20:38:10 +0000

(Video: Dancers from the Batsheva Ensemble and from Sweden in Ohad Naharin’s Kamuyot)

I had every intention of taking Gaga class on November 18, 2007. My dance clothes were in my bag, my water bottle was filled, and I made it to Suzanne Dellal with time to spare. But outside the studio, I ran into Eldad Mannheim, the manager of the Batsheva Ensemble. As part of a collaboration with Sweden’s National Riksteatern, members of the Ensemble were about to perform Ohad Naharin’s Kamuyot along with Swedish dancers – and Eldad invited me to join the audience of school children in Studio Varda for the show.

That was the first time I had the pleasure of seeing the Batsheva Ensemble, the second company of the Batsheva Dance Company. Since then, I have accompanied the Ensemble as they have toured to Be’er Sheva, Kiryat Shmona, and Kfar Saba, and I have attended their performances at the Suzanne Dellal Center in Tel Aviv. Many of the dancers who were in the Ensemble last year are now in the Batsheva Dance Company, and I’m happy to note that they will be touring throughout the U.S. from late January to early March. I hope you too will have the pleasure of seeing them perform!

I first wrote about the Batsheva Ensemble after joining them for a trip to Be’er Sheva, in the Negev desert, and I published a version of the article below on my own blog on January 10, 2008. Expect more accounts of my experiences with the group in the coming months.

* * *

I am not a morning person.

These days, it takes multiple alarms to get me out of bed, and more often than not, the snooze button takes a beating. But at 5 a.m. on Thursday morning, I successfully arose after a single ring of my alarm. It takes something special for me to get up before the sun rises – something like the chance to accompany the Batsheva Ensemble on their trip to perform for students in Be’er Sheva.

I shouldn’t have worried about a lack of sleep. Like several of the company’s dancers and staff members, I dozed for the better part of the bus ride to Be’er Sheva, and besides, I wasn’t about to perform in two back-to-back, hour-long concerts! I also suspected (correctly) that the excitement of joining the Batsheva Ensemble for this excursion would keep me on my toes, so to speak.

We awoke as the bus arrived in Be’er Sheva, and after drowsily piling into the theater, the dancers ate a light, healthy breakfast backstage to bolster their strength. Then it was time to get down to work. As the crew busied themselves with costumes and technical equipment, I followed the dancers onstage and took Gaga class led by Ines, an Ensemble dancer from France. Thanks to the presence of other foreigners – 6 of the company’s 16 dancers hail from abroad – the class was directed in English.

While I have taken Gaga for nearly two months, this was my first opportunity to take a class populated entirely by dancers. I enjoyed the experience immensely. Now familiar Gaga instructions like floating, quaking, and becoming like a string of spaghetti in boiling water existed side-by-side with first position, pliés, and leg swings. It was just what my body needed in the morning, and I imagine that it was a good preparation for the performers as well.

After class, rehearsal director Claire Bayliss Nagar gathered the company and announced casting for each performance of Ohad Naharin’s Zachacha. As they walked through spacing arrangements, I was impressed by how quickly the dancers adjusted to working in different places. The Ensemble’s dancers may be on the younger end of the spectrum, ranging in age from eighteen to twenty-four, but they are working in a rigorous professional environment. They are not simply learning multiple roles in a single dance and jumping from part to part at a moment’s notice – they are doing so for several full-length works. Currently, the group’s repertory includes Naharin’s Zachacha, Kamuyot, Seder, and Deca Dance, and they also join with the main company to perform versions of Naharin’s Telophaza and Anaphaza as well as Sharon Eyal’s Bertolina. They typically present four to six shows per week selected from the above repertory. When they are not in the theater, they spend seven hours per day warming up with Gaga and rehearsing in their studio at the Suzanne Dellal Center. It is a demanding schedule that can take its toll on the dancers’ bodies, but I got the sense that the Ensemble members, who were selected from a competitive pool of approximately 300 dancers, were happy to meet the challenge.

With spacing and sound checks finished, the company retreated to do makeup and get dressed. Last minute questions were answered backstage, and then I returned to the audience with Claire. One dancer was already downstage entertaining the entering audience with a gentle, bobbing groove. After the other dancers filtered into the space, company manager Eldad Mannheim made a brief introduction and the show took off.

Performing in front of chatty school groups can be a test of focus, and the Batsheva Ensemble successfully survived both rowdy crowds. They may not have had the benefit of a captive audience, but they gradually won over a fair portion of the first show’s viewers, and I myself was entranced by Zachacha during both concerts. Naharin mixes excerpts from his rich repertory in his Deca Dance, and in previous performances of that work I had seen parts of Zachacha including “Diva,” with a fiercely glammed-up woman strutting on stilts and lip-syncing downstage; “Names,” with dancers’ solos accompanied by recorded text of them introducing themselves; and the ever-popular “Dancing with the Audience,” in which dancers pull unsuspecting audience members onstage and boogie with their partners.

Most of Zachacha, however, was new to me. In two early segments, I enjoyed the visual trickery of having dancers suspended by Velcro on a wall upstage. Later I was charmed by the theatricality of “Carolina,” in which two dancers told a story (in Hebrew) of a sad girl with a rare disease and recurring dream; meanwhile, five men tugged, twisted, shook, and lifted a woman center stage to match the narration with puppet-like movement. And throughout, I feasted my eyes on the performers’ sumptuous dancing. I started musing about what makes Naharin’s work so satisfying for me while watching the second show. Purely from a movement standpoint, I am consistently struck by the range he elicits from his dancers. They juxtapose tight, tiny motions with explosive, full-bodied movement; they are equally adept at sliding low across the floor and soaring high through the air; they can slink, slice, jerk, shake, snake, squirm, undulate, pop, and float. Thanks in large part to Gaga, they have a full menu of movement options, which is something I discussed later that day with Ariel Freedman, a Juilliard-trained Ensemble dancer from Maryland who is now performing with the main company.

I talked with a few other dancers on the ride back to Tel Aviv, though after their two shows and multiple rounds of notes, many took well-deserved naps (and yes, I was tempted to shut my eyes for a bit as well). I am tremendously grateful for Eldad’s invitation to join the Batsheva Ensemble for this trip – it’s an experience I won’t forget any time soon! – and I look forward to watching the company perform and talking more with the dancers throughout my time here. Many thanks to all of the company’s dancers and staff for making me feel welcome, humoring my never-ending questions, and keeping me engaged and entertained on very little sleep!

* * *

The Batsheva Dance Company is performing Ohad Naharin’s Project 5 and Mamootot this week at the Suzanne Dellal Center. After more performances this month including Ohad Naharin’s Deca Dance 2009 and Sharon Eyal’s Makarova Kabisa, the company will tour North America from January 28 through March 7. For more details, visit Batsheva Dance Company’s website and see Dance In Israel’s Events page.

Dance In Israel » Deca 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.

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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.