Tag Archive | "Hakvutza BeYafo"

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Making Contact: Contact Improvisation in Israel

Posted on 04 December 2008 by Deborah Friedes Galili

(A contact jam at HaKvutza BeYafo; photo by Eliana Ben David)

It took me 20 years of dancing – and a move around the world – to get to my first contact improvisation jam. After this initial experience, though, I had many opportunities to attend jams in Israel; the CI scene is thriving here, with regular jams held at several locations, classes in contact improvisation, and an annual three-week festival in the winter.  In conjunction with the monthly jam at HaKvutza BeYafo, which takes place on the first Saturday of every month, I am re-posting my reflection on my first visit to this event.  “Making Contact” was initially published on my own website on October 7, 2007.

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After 2.5 weeks in the country, I finally made physical contact with the dance world in Israel – literally. I donned dance clothes for the first time here to attend a contact improvisation jam in Jaffa. For readers unfamiliar with this form, here’s a very brief, basic explanation:

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Surveying Dance Technique in Israel: A Report from the Studios

Posted on 22 November 2008 by Deborah Friedes Galili

(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.

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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.

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