Dance In Israel » Singular Sensation

Israeli Dance: What’s Happening in October

Deborah Friedes Galili — Tue, 06 Oct 2009 23:09:16 +0000

Video: Maria Kong’s Fling

As usual, there are lots of dance performances happening in Israel’s dance scene this month – but as I looked at the calendar, I realized that October is packed with several extra-special events. Below are some teasers for premieres, festivals, foreign tours, online contests, and more. For additional information about the following events and other performances, please visit the Dance In Israel Calendars.

Israeli Dance at Home

The members of Maria Kong. Photo by ASCAF.

Four former Batsheva dancers – Anderson Braz, Leo Lerus, Ya’ara Moses, and Talia Landa – make up Maria Kong, a new company which debuted fling last month to sold-out crowds. Now in its second run at the Nachmani Theater in Tel Aviv until October 10 and with a third set of shows planned for November 9-15, fling is clearly here to stay. 3-D projections, stunning costumes, and a striking score of both live and recorded music set an otherworldly mood for the work, but it’s the group’s supremely dynamic movement and supercharged stage presence which gives fling a lasting impact.

Shlomit Fundaminsky in La Divina. Photo by Aviv Zemer.

In honor of Tmuna Theater’s 29th anniversary, this month’s performances at the Tel Aviv institution are priced at a mere 29 shekels (that’s roughly $8!). Participating choreographers and dance groups include Shlomit Fundaminsky, Hagit Yakira, Ensemble Maya and Tomer, Acco Dance Center, Anat Shamgar, Efrat Reuven, Benyamin Yagendorf, Elad Ben-Sasson, Inbal Shachar, Tzachi Cohen, Shai Faran, Aviv Eveguy, and Maya Brenner. Hear about Shlomit’s work in Shlomit Fundaminsky: An Interview about Improvisation and Israeli Life.

Yossi Berg and Oded Graf’s 4 Men, Alice, Bach and the Deer. Photo by Matyas Krotziger.

Yossi Berg and Oded Graf are presenting their new 4 Men, Alice, Bach and the Deer at the Lab in Jerusalem on October 14-15 and at the Inbal Theater in Tel Aviv’s Suzanne Dellal Center on October 16-17. This often humorous exploration of the idealized man won rave reviews when it premiered this summer in Germany and Poland, and now the choreographers have revamped their work with a cast of standout Israeli dancers: Hillel Kogan, Irad Matzliach, and Yossi Berg and Oded Graf themselves.

Barak Marshall’s Rooster premieres in Tel Aviv Dance 2009. Photo by Gadi Dagon.

October means it’s time for the Tel Aviv Dance festival! This festival brings some of the hottest names in dance from around the world to the Suzanne Dellal Center and the Tel Aviv Opera House. Stay tuned to Dance In Israel for more on Tel Aviv Dance 2009, which runs from October 16 through November 13 – and if you’re nostalgic, you can reread my preview of Tel Aviv Dance 2008. Last year Barak Marshall’s Monger was a big hit when it opened Tel Aviv Dance, and this year, his new work Rooster will close the festival.

In partnership with the Israeli hotel chain Isrotel, the Batsheva Dance Company is presenting the 6th Phaza Morgana Festival in Timna National Park, Eilat from October 22-24. This year’s festival includes Take Two, a program featuring choreography by Ohad Naharin and Sharon Eyal; Anaphaza, one of Ohad Naharin’s iconic works; and a special appearance by the Idan Raichel Project. Check out my most recent article on Batsheva, Batsheva Dance Company: From Graham to Gaga, for background on the company and a list of other related articles about the group.

Israeli Dance Abroad

Whether you’re in Europe, the United States, or Asia, there’s something coming your way this month . . . .

Barak Marshall’s Monger. Photo by Gadi Dagon.

Barak Marshall’s production of Monger kicked off this month with a trip to Seoul and Daego, South Korea; the final performance of this tour is October 7th.

Video: Yossi Berg and Oded Graf’s Heroes.

Besides presenting their 4 Men, Alice, Bach and the Deer in Israel, Yossi Berg and Oded Graf are taking Heroes to the N.O.W. Festival in Saarbrucken, Germany on October 10. The pair returns to Staatsheater Kassel, Germany for an October 25 showing of a new creation, Fairy Tales, which has its official world premiere in December.

Iris Erez in Arkadi Zaides’s Solo Colores. Photo by Gadi Dagon.

From October 11 until the 25, Arkadi Zaides is touring with Solo Colores and Solo Siento in Asia. After showing Solo Colores at the Shanghai Dance Festival in Shanghai, both works will be performed in Taipei at the Kuan Du Arts Festival and then in Tokyo. For more about these works, check out my article Arkadi Zaides: Community Connections and Stunning Solos.

Yasmeen Godder’s Singular Sensation. Photo by Tamar Lamm.

Yasmeen Godder’s Singular Sensation will be performed in Prague on October 11-12 as part of 4+4 Days in Motion, and on the 28th-29th, the work will be part of TANZ IN BERN in Bern, Switzerland. Read more about Yasmeen’s work in Close Encounters Series: Yasmeen Godder.

Inbal Pinto and Avshalom Pollak’s Hydra. Photo by Seto Hidemi.

The Inbal Pinto Dance Company takes Hydra to the Dance Umbrella Festival in London on October 18-19. The creators talked about the development of Hydra in my podcast Inbal Pinto and Avshalom Pollak: An Interview on Imagination.

Gilat Amotz’s Empty Room. Photo by Lucky Trimmer, Berlin.

Gilat Amotz’s solo Empty Room will be performed in Masdanza, the International Contemporary Dance Festival of the Canary Islands. Empty Room is one of only 10 solos which were selected for this competition, which runs from October 17-24. Gilat’s choreography was also chosen to be included in the Masdanza Tenerife Festival at the Teatro Victoria in Santa Cruz in Tenerife from October 25-26.

As part of Nextbook’s Jewish Body Week, the Foundation for Jewish Culture is presenting an evening titled Contemporary Israeli Dance and the Reinvention of the Jewish Body at the JCC in Manhattan on October 22. Choreographers Deganit Shemy, Andrea Miller of Gallim Dance, and Saar Harari of LeeSaar: The Company will show excerpts of their work and participate in a panel discussion moderated by dance writer Elizabeth Zimmer. Read a bit about Deganit Shemy’s premiere of Arena at DTW last spring in From Writing to Talking about Dance, and find out about Andrea Miller’s connection to Israeli contemporary dance in Gallim Dance at Jacobs Pillow: Waves of Influence.

Rachel Erdos’s Alma. Photo from Gvanim Be’machol 2007.

Rachel Erdos is headed to the United States to set Alma on the Washington D.C.-based troupe CityDance Ensemble. Her work will be performed at the Kennedy Center as part of CityDance’s “Latitude” program on October 29-30. CityDance toured the Middle East last spring, and I caught up with them in east Jerusalem; read about their visit in CityDance in Jerusalem: Exploring the Gaps Between American and Israeli Dance.

Israeli Dance Online

Video: Michael Miler’s Speed of Light

Michael Miler’s Speed of Light is one of 10 finalists in the Sadler’s Wells Global Dance Contest 2009. The winning entry will be performed at Sadler’s Wells in London in January 2010 as part of the program Sadler’s Wells Program. Like Speed of Light? Vote for it! Speed of Light caught my eye when it premiered at the Shades of Dance Festival last March; read my impressions in Behind the Scenes at Gvanim: Shades of Dance Festival .

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For a calendar including these events and other performances, please visit the Dance In Israel Calendars . Know of some other exciting event relating to Israeli dance in Israel or abroad? Leave a comment below with the details!

Experiencing Yasmeen Godder’s Repertory Workshop

Deborah Friedes Galili — Wed, 30 Sep 2009 12:04:39 +0000

Yasmeen Godder and Iris Erez in Godder’s Two Playful Pink. Photo by Tamar Lamm.

More than a year ago, I had the opportunity to take a week-long repertory workshop at Yasmeen Godder’s studio. I found the intensive enriching both as a dancer and as a dance researcher, and I recounted my experience on The Winger on April 4, 2008; that article is posted below.

Now another batch of advanced dancers will have the chance to sink their teeth into Godder’s meaty material during a brand-new, year-long intensive. Hosted by ActSearch and held at Godder’s studio in Jaffa, this program will build participants’ physical and expressive skills through a mix of technique classes, repertory workshops, and sessions with dramaturge Itzik Giuli.

Besides preparing for this exciting endeavor, Godder has been touring one of her latest works, Singular Sensation. Want to watch some of her work and see what’s in store for her new students? There are lots of upcoming performances in several locations. After one more performance of Singular Sensation at Suzanne Dellal on October 1, the production is traveling to Prague and Bern in October before touring Germany and Belgium in November. For more information on the intensive workshop and the tour, check out the links at the end of this article.

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Yasmeen Godder’s Repertory Worskhop (April 2008)

It’s been more than seven months since I have learned new repertory, and while I’m loving my dance classes and improvisational projects, I do miss the process of absorbing and living in a piece of choreography. So even though my body feels a bit tired now, my spirit is extremely happy after tasting a bit of Yasmeen Godder’s work!

I just finished a five-day workshop at her studio in Jaffa (at the south of Tel Aviv – technically, the city is Tel Aviv-Yafo). Yasmeen is currently on tour in Europe with her production Sudden Birds, so two of her dancers led the intensive. Each day began with Eran Shanny’s technique class, which was very similar to Yasmeen’s with its influences of release technique, yoga, Feldenkrais, and more.

After Eran helped us absorb the principles of Yasmeen’s movement style, Iris Erez took over for the repertory segment of the workshop. We did improvisational exercises like those Yasmeen uses in her creative process, and we learned solo and duet material from Two Playful Pink. Yasmeen’s choreography is meaty, both in its movement vocabulary and its emotional content, and Two Playful Pink – a piece originally performed in 2003 by Yasmeen and Iris – is no exception. The dance concerns attitudes towards femininity and the body, and the movement often shifts a conventional expression of sexuality into more unfamiliar (or unaccepted?) territory: a hand seductively placed on the upper thigh soon insistently clutches the crotch; the slow fixing of messy hair is paired with a sudden spank-like slap to the hip; a smile is distorted by tucking in the upper lip or tugging the cheek into a sneer.

Yasmeen Godder and Iris Erez in Godder’s Two Playful Pink. Photo by Tamar Lamm.

There’s so much I could say about what I gained through this experience – in fact, my stream of consciousness free-write in my notes file was enough to make Word send me a few error messages last night – but I’ll try to keep my post here manageable . . . If you haven’t noticed yet, I tend to be a bit wordy!

I’ve found myself explaining recently that yes, I am both a dancer and a researcher, so I’ll write a bit about how these two activities are complementary. Quite wonderfully, this workshop reinforced my belief in the value of physical research. My experience in technique classes this year has provided me with important information about the physicality used in Israeli contemporary dance. Yet with repertory, there’s another level of experience and analysis to be found; instead of simply dealing with the raw material of technique – some of the building blocks of a finished dance – learning choreography allows me to explore issues of composition and content along with the movement itself.

This week I got a physical sense of Yasmeen’s partnering work, which epitomizes an intricate, aggressive style employed by many young Israeli choreographers. Actually attempting to dance excerpts of this duet gave me a deeper appreciation of what I had admired from afar because I myself got to experience (or, well, try to experience) the speed, precision, and trust involved in this kind of partnering. I was also reminded that in the hands of the right choreographer (and ultimately in the bodies of the right dancers), movement can be wonderfully loaded with meaning. In the duet excerpts from Two Playful Pink, each tug, shove, jerk, drop, fall, and look is a challenge from one woman to the other, a chance to manipulate, dominate, taunt, display . . .

Yasmeen Godder and Iris Erez in Godder’s Two Playful Pink. Photo by Tamar Lamm.

Learning repertory also provides an extraordinary opportunity for me to recognize and question the assumptions I make as a spectator of choreography. As I realized this week, what you perceive when you are an audience member does not always get at the truth of the matter from the performer’s perspective.

What I often see in Israeli contemporary dance is power – but it’s not always a controlled power or a power composed of force. In my experience with Yasmeen’s choreography (and specifically thanks to the feedback Iris gave me), I understood that this power is at times a matter of energy unleashed by giving into momentum and gravity. Having trained primarily in ballet and older modern dance forms such as Cunningham technique and Graham, Taylor, and Limón-influenced styles, I find working in this released-influenced mode quite challenging – but also quite necessary for my growth as a dancer. You can bet I’ll be back in Yasmeen’s classes after she returns from her tour!

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Snapshots from International Exposure 2008

Deborah Friedes Galili — Sat, 07 Feb 2009 20:51:04 +0000

Hydra by Inbal Pinto and Avshalom Pollak closed International Exposure. Photo by Seto Hidemi.

Most visitors to this year’s International Exposure were festival directors, arts presenters, diplomats, or critics. I, however, came as a researcher. With this festival – as with my other research activities – I sought to discover, to interpret, to understand. I searched for old connections and new pathways.

Featuring over 40 works, International Exposure was exactly the right place to look for the threads which tie together this country’s concert dance scene. The festival is a like a yearbook for Israeli dance. The offerings by each choreographer serve as the album’s individual portraits. Mixed bills drawn from some of the country’s other festivals (Curtain Up; Machol Acher/Other Dance Project) hint at the structure of the dance community, just as club pictures reveal a school’s cliques and groups. And with the 20+ concerts clustered together in a mere six days, it’s possible to see the trends which characterized much this year’s artistic output. (( It should be noted, though, that some choreographers were missing from this year’s International Exposure. Some well-established artists including Nimrod Freed, Anat Danieli, and Adama’s Nir Ben-Gal and Liat Dror did not present work at the festival. Meanwhile, younger independent choreographers are far greater in number than those represented onstage. ))

Indeed, International Exposure brought the dance scene into focus for me, clarifying and sharpening some observations I had started to form since my research began in 2007. Israel is a small country, the size where everyone in the dance community knows each other, and this shows – not only during the mingling at receptions. For instance, it’s worth noting just how many collaborations there are within the dance scene. Several pairs presented work: Inbal Pinto & Avshalom Pollak, Yossi Berg & Oded Graf, Ya’ara Dolev & Amit Goldenberg, Renana Raz & Ofer Amram, and Niv Sheinfeld & Oren Laor (with the participation of choreographer Ronit Ziv, who performed). (( Ronit Ziv wasn’t the only choreographer who performed in another artist’s work. Ya’ara Dolev danced in Michael Getman’s duet, while Getman in turn appeared in the work Dolev co-choreographed. Lazaro Godoy popped up in dances by Sahar Azimi, Maya Levi, and Inbal Pinto & Avshalom Pollak. Although neither Nadar Rosano nor Iris Erez showed work this year, both choreographers danced in the festival (Rosano in Ronit Ziv’s choreography and Erez in Arkadi Zaides’s offering). ))

The fact that most choreographers are clustered in Tel Aviv probably facilitates this partnership, and it may also foster the cross-pollination of ideas in the work itself. At International Exposure, pure, abstract dance was trumped by theatricality and props (ranging from squeezy toys to green slime, with numerous pairs of shoes and other items in between). There was very little movement for movement’s sake, something I have noticed throughout my time here.

As for the movement itself, many of the dances were influenced by release technique. Assertive fast-paced partnering also dominated, especially in the trios and quartets which filled the four Curtain Up programs. The prevalence of contact improvisation in Israel also seems to have made its mark on how partnering is built.

Yet even as many of the works bore a similar aesthetic imprint, there were glimpses of what lies beyond the borders of contemporary dance in Israel. Elina Pechersky put belly dance on the concert stage, Tamar Borer mined the Japanese butoh tradition, and the Israel Ballet brought another flavor to the festival.

International Exposure may be over, but my research continues! I’m looking forward to talking with many of the choreographers I met at the festival in the months to come – and as my understanding of Israel’s concert dance scene develops, I’ll share more snapshots with you.

Snapshots from International Exposure 2008:

Top row: Barak Marshall’s Monger (photo by Gadi Dagon); Yossi Berg and Oded Graf’s Bloody Disco (photo by Gadi Dagon)
Middle row: Yasmeen Godder’s Singular Sensation (photo by Tamar Lamm); Niv Sheinfeld and Oren Laor’s Post-Martha (photo by Ascaf)
Bottom row: Noa Wertheim’s White Noise (photo by Gadi Dagon); Noa Dar’s Tetris (photo by Tamar Lamm)

Useful Links

International Exposure 2008: Day 2

Deborah Friedes Galili — Wed, 21 Jan 2009 06:50:51 +0000

(Video: Ov by Renana Raz and Ofer Amram)

The opening night of International Exposure whetted my appetite for a festival full of Israeli contemporary dance, and now I’m ready for the first whole day of programming. And it will indeed be a whole day – events are running from 11:00 a.m. until about 10:oo p.m.!

I saw Yasmeen Godder’s Singular Sensation when it premiered in June, and I’m eager to view this intense work again when it starts our morning. Next on the program is dance scholar Gaby Aldor, who will present a lecture on dance in Israel. I often found myself reading her articles as I began my research on the subject, so I’m quite excited to hear her speak.

Today will also feature two mixed bills from the annual Curtain Up Festival, which is one of the main platforms for premieres in Israel. In this year’s Curtain Up 3, we’ll see two collaborations: Bloody Disco by Yossi Berg & Oded Graf, and Reversi by Odelya Kuperberg & Sahar Azimi. Tonight we’ll also view Curtain Up 2, with It Rains Inside (Rachel Erdos), Post-Martha (Niv Sheinfeld & Oren Laor with the participation of Ronit Ziv), and La femme 1, La femme 2 (Ronit Ziv).

In between the two selections from the Curtain Up Festival, we’ll be treated to a showing of Ov by Renana Raz & Ofer Amram. Inspired by S. Ansky’s play The Dybbuk, Ov premiered at the Israel Festival in June. I attended its first performance in Jerusalem and am looking forward to seeing it here in Tel Aviv at the Inbal Hall!

See below for more video and links.

(Video: Post-Martha, by Niv Sheinfeld and Oren Laor with the participation of Ronit Ziv)

Links to Companies and Choreographers

Close Encounters Series: Yasmeen Godder

Deborah Friedes Galili — Mon, 03 Nov 2008 06:30:46 +0000

Yasmeen Godder’s Singular Sensation will be performed in New Haven, CT as part of Yale University’s World Performance Project Festival on November 11-12. Photo by Tamar Lamm. See our Events page for the listing.

Throughout my time in Israel, I have had the privilege of speaking with a number of choreographers and dancers about their art. Here on Dance In Israel, I will be sharing these conversations with you in a series of “Close Encounters” articles and in a series of podcasted audio interviews. This “Close Encounters” article on Yasmeen Godder was first published on The Winger in June of 2008.

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Yasmeen Godder. Photo by Natan Dvir.

If you’re part of the New York dance scene, you’ve probably stepped through some of the same doors as Yasmeen Godder. Born in Israel and raised in Jerusalem until age 11, Yasmeen moved to the U.S. with her family, attended the High School of the Performing Arts in New York City, studied at Movement Research and the Klein School, and received her undergraduate degree from NYU’s Tisch School. The Kitchen, DTW, and Dancing in the Streets have all commissioned work from her, and she was awarded a Bessie in 2001 for I Feel Funny Today.

If you’re part of the Israeli dance scene, you’ve undoubtedly felt Yasmeen’s influence and quite possibly crossed paths with her. I had heard of Yasmeen prior to arriving in Israel because of her activities in the U.S. and the acclaim which has greeted her works both in the states and Europe, and as soon as I arrived in Israel, I began to realize the impact she has made in her home country. Her name frequently came up in conversations about both choreographers and teachers, and many people urged me to see her work and take her class. So it was that I ventured down to Yafo (Jaffa) to take technique at her studio, attended a performance there of Sudden Birds (see the video above), and went to a performance of I’m Mean, I Am at the Suzanne Dellal Center.

Months later, I’m not surprised that I heard so much buzz about Yasmeen. I found Yasmeen’s classes to be quite challenging and enormously helpful in their specificity, especially as I attempt to widen my body’s range and move with less muscular effort. She welcomes students’ reflections in class and presents her own ideas with clarity and details that enable me to adjust my mindset and body to a more unfamiliar technical framework.

I also found Yasmeen’s choreography to be as challenging as her classes, and refreshingly so. Since my earliest research on the socially conscious New Dance Group, I have always been attracted to choreographers who examine social issues, but while many choreographers try to touch such subject matter, it is all too easy for their investigations to remain superficial and cursory. Not so with Yasmeen. She doesn’t shy away from difficult topics, and regardless of the subject at hand, she isn’t afraid to display even the most disturbing findings from her creative process onstage.

It’s a tribute to Yasmeen’s artistic integrity that at the second performance of Singular Sensation at Suzanne Dellal on Friday, the packed audience was peppered with dancers, choreographers, artists in other disciplines, and committed dance enthusiasts who were eager to see her latest work. The five dancers’ exploration of sensation was surreal at times – with green slime oozing down dancers’ bodies and a nightmarish section in which four dancers covered the fifth performer’s head in pantyhose and saran wrap, shoved oranges into his hands for squeezing, and pulled him into splits over a jello mold – but the applause filling the theater at the work’s conclusion was very, very real.

Back in April, Yasmeen sat down with me after a rehearsal so that we could chat a bit about her work. As in most of these conversations, we started at the beginning, talking about Yasmeen’s pathway from ballet and Graham technique through to her investigations of Klein technique, more broadly labeled release classes, improvisation, and yoga.

Yasmeen had prefaced some of her classes with a disclaimer that she did not teach a particular technique, and so we talked at length about the various influences on her approach to movement. Klein features prominently in this array of influences, with its emphasis on releasing the exterior muscles and finding the bones; from Yasmeen’s exposure to this and other classes in the release spectrum, she also developed her strong connection to the floor, deep trust in space, and ability to use less effort. Yet Yasmeen also incorporates approaches that are, in some ways, at odds with the typical release practice and aesthetic. She can be shape-based at times, and through both her own process of questioning and her collaboration with a dramaturge, she ventures into a world which is more emotional and (for lack of a better word – this is admittedly inexact) theatrical.

Yasmeen also discussed yoga’s impact on her training, which is evident in her use of particular sequences and stretches in the classes she teaches, and she further noted that the combination of physical, mental, and emotional aspects within yoga meshes with her own creative process and development of movement for choreographic works.

Godder’s Strawberry Cream and Gunpowder. Photo by Tamar Lamm.

Speaking of choreographic works, we spent some time discussing one of Yasmeen’s dances which had a particularly powerful impact on me. Strawberry Cream and Gunpowder was made during the second intifada, and when I screened it on DVD in the autumn, it kept me up all night thinking and writing. I had wondered if I would see any dances here which tackled the Israeli-Arab conflict head-on, and I have found remarkably few either on stage this season or on video from previous years. Thus Strawberry Cream and Gunpowder stood out for me not only because of the strength of the choreography and its performance but also because of the subject matter.

Surrounded by images in the news media in 2004, Yasmeen felt that she simply had to deal with what was happening in her country, and she assembled a series of photographs – a “catalog” of images – as a starting point. Dancers were instructed to “be” the photograph, without political or emotional comment, and each artist worked with a few photographs so that they switched roles: male, female, young, old, wounded, able, civilian, soldier. In this way, the boundaries between “victim” and “perpetrator” become blurred, just as these roles aren’t always clear or constant in the actual events of the situation here. I had recognized this particular blurring upon watching the piece, but listening to Yasmeen recount the choreographic process, my mind reached beyond the dancers’ appearances – their genders and ages – and I realized even more how complex and intense this exploration must have been.

Yasmeen continued to talk about images of war and images of heroes, raising questions both about how these subjects are photographed and how people look at and identify with these pictures; Susan Sontag’s Regarding the Pain of Others, she said, delved into many of the issues which were at the heart of Strawberry Cream and Gunpowder. We also discussed the response of audiences, which varied based on geographical location (Jerusalem, Tel Aviv, and cities abroad) as well as performance space (more intimate settings versus traditional proscenium stages which create a stronger division between the action onstage and the spectators in the house).

Some Israelis didn’t perceive Strawberry Cream and Gunpowder as being about the situation here, whereas outside of the country – of course billed as a work by an Israeli choreographer – the dance was almost uniformly viewed as a piece concerning the Israeli-Palestinian situation. While audience members in any country are subject to the flood of war images these days, though, the Israeli crowds contained people who were directly connected to the dance’s source material including survivors of suicide bombings. As Yasmeen recounted one Israeli woman’s emotional response to the work, I couldn’t help thinking of how a woman mourning her young son tearfully approached Martha Graham after a performance of her signature solo, Lamentation. Like Graham before her, Yasmeen Godder knows that she may move members of the audience with her dances – and in my experience, she moves many viewers with her honest, probing work.

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Want to see some of Yasmeen’s choreography, but can’t make it to Yale next week? Here is a clip of her work Sudden Birds:

Dance In Israel » Singular Sensation

Israeli Dance: What’s Happening in October

Israeli Dance at Home

Israeli Dance Abroad

Israeli Dance Online

Related Articles on Dance In Israel

Related Links

Experiencing Yasmeen Godder’s Repertory Workshop

Yasmeen Godder’s Repertory Worskhop (April 2008)

Related Articles on Dance In Israel

Related Links

*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.

Snapshots from International Exposure 2008

Useful Links

International Exposure 2008: Day 2

Related Articles on Dance In Israel

Links to Companies and Choreographers

Other Useful Links

Close Encounters Series: Yasmeen Godder

Related Links

*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.