Rina Schenfeld in Angels. Photo by Gadi Dagon.
Earlier this summer, I published a guest post by Gdalit Neuman about Rina Schenfeld’s Angels. Neuman, a dancer in Schenfeld’s company, gave an inside look at the making of this new work, and a few weeks ago, I got to provide a different perspective for the Jerusalem Post. This article was originally published in the newspaper as “In The Arms of an Angel” on August 3, 2009.
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In the Arms of an Angel
“A new dance is like cooking. You have to put in a little bit of salt, a little bit of sugar, a little bit of everything,” reflects Rina Schenfeld about her choreographic process.
Schenfeld first made a name for herself as a powerhouse dancer with the Batsheva Dance Company from its inception in 1964 until 1979. But from a young age, she was already fascinated by choreography. Prior to studying at the prestigious Juilliard School, an 18-year-old Schenfeld created a prize-winning solo for herself. She went on to choreograph many dances for Batsheva, eventually retiring from the company in order to further pursue her own work.
Over decades of choreographic exploration, Schenfeld experimented with objects, fabric, video and a range of music. Now, she remarks, these elements are “all combining together in the cooking of a new evening.”