Posted on 30 October 2011 by Deborah Friedes Galili
In Her Own Words by Rachel Erdos. Photo by Yaniv Cohen.
Founded in 1989, Curtain Up (Haramat Masach in Hebrew) has become a centerpiece of Israel’s contemporary dance calendar. In many ways, the core of this yearly platform has remained the same over the decades: up-and-coming choreographers who operate outside of the country’s major companies receive financial and artistic support to present new works on a series of mixed bills in Tel Aviv and Jerusalem.
Yet in its most recent editions, Curtain Up has added another layer: cultivating artistic directors who are themselves choreographers. Last year, four alumni of the festival – Tamar Borer, Sahar Azimi, Ronit Ziv, and Renana Raz – were each charged with curating an evening. This year, Borer, Azimi, and Ziv are returning as artistic directors, applying the lessons they learned in 2010 to Curtain Up 2011, which runs from November 3-12.
Curtain Up’s three programs will each be performed twice at the Suzanne Dellal Centre and once at the Jerusalem Theatre. In cooperation with the Choreographers Association and Tarbut L’Yisrael, the works created for Curtain Up will also be performed in Israel’s northern and southern regions, enabling these younger choreographers to gain further exposure.
So just what is on the bill for Curtain Up this year? Here is a video preview of the three programs:
Artistic Director: Tamar Borer Choreographers: Iris Erez, Maya Brinner, Maya Weinberg Performances at the Suzanne Dellal Centre: November 3 and 12 at 21:00 Performances at the Jerusalem Theatre: November 10 at 20:30
Video: Shuttered by Iris Erez
Video: Forest by Maya Brinner
Video: Some Fish (swim up the river to die) by Maya Weinberg
Artistic Director: Sahar Azimi Choreographers: Doron Raz, Roy Assaf, Gili Navot, Noa Zuk Performances at the Suzanne Dellal Centre: November 4 at 22:00 and November 10 at 21:00 Performances at the Jerusalem Theatre: November 8 at 20:30
Video: Valentia by Doron Raz
Video: 6 Years Later by Roy Assaf
Video: Subject to Change by Gili Navot
Video: Speaker by Noa Zuk
Artistic Director: Ronit Ziv Choreographers: Hillel Kogan, Rachel Erdos, Osnat Kelner Performances at the Suzanne Dellal Centre: November 5 at 21:00 and November 11 at 22:00 Performances at the Jerusalem Theatre: November 9 at 20:30
Video: Obscene Gesture by Hillel Kogan
Video: In Her Own Words by Rachel Erdos
Video: The sad little, unappreciative, Pisces, Jesus man by Osnat Kelner
Tickets for Curtain Up performances are 60 NIS. For tickets to Curtain Up at Suzanne Dellal, call 03-5105656. For tickets to Curtain Up at the Jerusalem Theatre, call 02-5605755.
Yossi Berg and Oded Graf’s Heroes. Photo by Tamar Tal.
Contemporary Israeli Dance Week in New York City
by Stacey Menchel Kussell
With world renowned choreographers like Ohad Naharin, Yasmeen Godder, and Inbal Pinto, over sixty registered dance groups and many more emerging artists – Israel has become a powerhouse in the world of modern dance. While Israeli contemporary dance companies have been headlining prominent European dance festivals for years, many Israeli choreographers are still unknown in the United States. New York’s Contemporary Israeli Dance Week, June 8-12th, 2011, is going to change that.
The festival, a five-day event including performances, video presentations, and community classes, profiles nine of Israel’s up-and-coming dance groups – Arkadi Zaides, Idan Cohen, Yossi Berg & Oded Graf, Maya Brinner, Maya Stern & Tomer Sharabi, choreographers based in Israel; and Deganit Shemy, YelleB Dance Ensemble, Netta Yerushalmy, and LeeSaar Company, based in New York City. The dance films featured are by the “D for Dimension – Animative Videodance” project – a collaboration between three leading Israeli professional schools of dance, photography, and video.
The LaMaMa Experimental Theatre Club (E.T.C.), a home to New York avant-garde theater since 1961, will fittingly host the performances as part of its LaMama Moves Dance Festival, an annual international dance showcase. Created by the late Ellen Stewart, the LaMaMa E.T.C. is a world renowned cultural organization that seeks to nurture and support performance work by artists of all nations and cultures.
YelleB Dance Ensemble. Photo by Yi-Chun Wu.
“There is really an intense and pervasive energy in Israeli contemporary dance right now,” says Edo Ceder, who is both a producer and a dancer in the YelleB Dance Ensemble. “This series will feature both Israeli choreographers based in New York and in Israel, and will be an opportunity for the U.S. to see our work represented as a community. By exhibiting both emerging and more established artists at a venue like LaMaMa we can show the full range and texture of what is really happening in the field.”
Arkadi Zaides’s Quiet. Photo by Gadi Dagon.
While each artist investigates diverse topics in their choreography, all of the works involved in the series are in some way about pushing past boundaries. Arkadi Zaides’s internationally acclaimed Quiet, a quartet that features two Arab and two Jewish men, will make its U.S. premiere at the festival. The piece explores the concept of communication and delves into the tension of the Arab-Israeli conflict that Zaides feels is “imprinted on the body” of everyone in the region. “There has been such an emotional reaction to the piece,” explains Zaides, “it has opened up so much discussion about the need for dialogue–the need to talk, and to not be in silence, just ignoring our issues. I’m excited to show the piece and open it up to the New York audience.”
Idan Cohen’s My Sweet Little Fur. Photo by Ran Biran.
Idan Cohen, who will present his solo My Sweet Little Fur, is also enthusiastic for this opportunity to connect with the American audience. He feels that his choreography, like many of his peers, is a coping mechanism for the confusing elements of his environment: “There is a lot of commotion in Israel – diverse people with diverse convictions who live in a very confined space. Our dance helps us articulate our identity.”
Maya Brinner’s Red Ladies. Photo by Gadi Dagon.
Maya Brinner, whose Red Ladies, will also make its New York premiere, feels that while she is challenged by her surroundings, she is also nurtured by a very supportive artistic community. Before creating her own work, Brinner performed with Noa Dar and Emanuel Gat, and studied at the Jersualem Acadamy of Music and Dance. She recognizes the importance of the excellent training available in Israel, and the great foundation the bigger companies like the Batsheva Dance Company have established for the country. Many of the dancers in the New York festival have trained or danced with Batsheva and studied with its director, Ohad Naharin. Naharin’s influence on Israeli contemporary dance has been profound, and even choreographers with different movement styles have felt his effect.
“I think we all owe a great deal to Ohad for paving the way,” says Maya Brinner who will show her work in the festival. “But, I also think this dance week in New York is an opportunity to see how far we’ve come. There are many companies in Israel now, and new projects are sprouting up all the time. We are greatly supported by our government and local arts programs, and have also received great praise for our performances in Europe and Asia. Contemporary Israeli dance has really come of age.”
The festival, produced by Edo Ceder, Michal Gamily, and Hila Kaplan, is the first Israel focused dance event of its kind in the U.S., and has plans to develop into an ongoing tradition. “We don’t expect to change the world with one festival,” says Ceder. “But we do hope to make an introduction and foster dialogue. We want to show others the variety and the power of the dance that comes from our nation.”
Contemporary Israeli Dance Week runs June 8-12, 2011 at the La MaMa Experimental Theatre Club. 74A East 4th Street (btw Bowery & 2nd Ave) New York, NY 10003. For more information call: 001 212.475.7710 or go to www.lamama.org
About the Guest Author
Stacey Menchel Kussell received her Master’s degree in European and Mediterranean Studies from New York University. She has previously written on the Mediterranean experience of the Holocaust, and the Jewish community of Spain. Her work has been published in the Jerusalem Post, The Forward, and Presentense Magazine. Her current project examines contemporary Israeli dance.
Posted on 22 January 2011 by Deborah Friedes Galili
Quiet by Arkadi Zaides. Photo by Gadi Dagon.
Heads up, New Yorkers! In June, a wave of contemporary dance from Israel is coming your way as part of the annual La MaMa Moves Festival. The city is already home to an astonishing number of Israeli-born choreographers, and La MaMa’s celebration will include five of these New York-based artists and groups: Deganit Shemy, LeeSaar The Company, Netta Yerushalmy, YelleB Dance Ensemble, and Neta Pulvermacher. But the Contemporary Israeli Dance Week mini-festival is also scheduled to feature a stellar line-up straight from Israel. Yasmeen Godder, Arkadi Zaides, Idan Cohen, Maya Brinner, and the team of Tamar Borer and Tamara Erde will offer a glimpse of the latest in Israeli-made productions, and master classes will give New York dancers a taste of what’s happening in local studios.
On Monday, January 31, a gala evening featuring Deganit Shemy, LeeSaar The Company, Netta Yerushalmy, and YelleB Dance Ensemble will be held at La MaMa E.T.C. (Experimental Club). The gala is a fundraiser for the Contemporary Israeli Dance Week, and more information about tickets can be found at the festival’s website. For those of you who can’t make it to the gala, here’s a sneak peak at the festival with clips of works by Godder, Zaides, Cohen, Brinner,and Borer and Erde.
Posted on 22 November 2010 by Deborah Friedes Galili
Dana Ruttenberg’s Private I’s premieres in Curtain 3. Photo by Gadi Dagon.
In its 21-year history, Curtain Up – Israel’s primary platform for premieres by independent Israeli choreographers – has cycled through a series of artistic directors and experimented with different formats. To celebrate two decades of the festival’s existence in 2009, six alumni of Curtain Up created new works and selected up-and-coming choreographers to share their evenings. Now, in a development of last year’s innovative programming, this year’s artistic directors are four artists who have previously shown their work in Curtain Up: Tamar Borer, Ronit Ziv, Renana Raz, and Sahar Azimi. Each veteran choreographer is overseeing an evening-long program of new works by emerging choreographers, providing a valuable outside eye for the creators on his or her bill. With this setup, Curtain Up has added a layer of artistic support to the financial assistance that has long been a major benefit of participation in the festival.
Iris Erez’s Homesick is featured in Curtain 1. Photo by Gadi Dagon.
This year’s line-up of choreographers includes some faces familiar to Curtain Up audiences. Iris Erez was featured last year on Yasmeen Godder’s curtain, Elad Schechter shared the stage in 2009 with Vertigo Dance Company, and Maya Brinner showed her work on Noa Dar’s 2009 program; meanwhile, Michael Getman presented his work in previous seasons of Curtain Up. Other artists in this year’s festival have shown their recent works in Tmuna Theater’s annual Intimadance and in Shades of Dance, a biennial platform for new choreographers that often serves as a stepping stone to Curtain Up.
Shlomi Frige’s Rashomon premieres in Curtain 4. Photo by Gadi Dagon.
Besides the four programs, this year’s Curtain Up includes an array of events that encourage interaction between the artists and the wider public. Conversations with the artistic directors and choreographers will precede some of the performances, and a series of workshops will be held in conjunction with the Amuta (the Choreographer’s Society). The culminating event of Curtain Up 2010 is a landmark symposium geared to spark conversation about dance and the body. Organized by Yael Nativ, this symposium will be held on Friday, December 3 in Jaffa at the Teiva, 19 Sderot Yerushalayim, from 9:00 until 1:30 in the afternoon. The first session will contain more academic discussions of selected topics, and the second session will feature four dialogues between dance scholars and each of the artistic directors of this year’s Curtain Up festival. Admission is free to the public.
Rotem Tashach’s Monuments is featured in Curtain 2. Photo by Gadi Dagon.
Dance lovers in Tel Aviv and Jerusalem can catch the four curtains in late November and early December at bargain prices – tickets are a mere 60 NIS. The Curtain Up programs will tour later this season to other areas around Israel, including Kfar Blum and potentially Dimona. And if you’re not in Israel – or if you just want a sneak peek at what you’ll see onstage soon – check out the video preview of each curtain below!
Directed by Tamar Borer, Curtain 1 features works by Iris Erez and Michael Getman.
Performance schedule: Suzanne Dellal: November 25 and December 3 Jerusalem Theatre: December 2
Video: Iris Erez’s Homesick
Video: Michael Getman’s Father and Feather
Ronit Ziv served as the artistic director for Curtain 2, which includes works by Tammy and Ronen Itzhaki, Rotem Tashach, and Ofra Idel.
Performance schedule: Suzanne Dellal: November 24 and December 2 Jerusalem Theatre: December 1
Video: Ofra Idel’s Horse Tail
Video: Tammy and Ronen Itzhaki’s Have You Done
Video: Rotem Tashach’s Monuments
Under the artistic direction of Renana Raz, Curtain 3 features the work of three female choreographers: Gili Navot-Friedman, Maya Brinner, and Dana Ruttenberg.
Performance schedule: Suzanne Dellal: November 27 and December 1 Jerusalem Theatre: November 29
Video: Maya Brinner’s The Show
Video: Dana Ruttenberg’s Private I’s
Video: Gili Navot-Friedman’s Check-in
Three male choreographers – Ariel Cohen, Elad Schechter, and Shlomi Frige – will show their work in Curtain 4, under the artistic direction of Sahar Azimi.
Performance schedule: Suzanne Dellal: November 26 and December 4 Jerusalem Theatre: November 30
Video: Elad Schechter’s Funis
Video: Ariel Cohen’s The Battle for the 21st Century’s Love
Posted on 30 December 2009 by Deborah Friedes Galili
Video: Maya Brinner’s Red Ladies was one of several works exploring the individual within the group at International Exposure
A few weeks after International Exposure 2009, not only am I continuing to mull over some intriguing works that I saw, but I am still thinking about the many attendees I met and contemplating the conversations I had with them.
It was truly remarkable to see how many presenters were scoping out Israeli dance with the hopes of bringing Israeli choreographers or companies to their venues. The audience at International Exposure was well-informed, sophisticated, and worldly; its members were knowledgeable about the contemporary dance scene in their own home countries and had seen some of the latest productions from around the globe.
This diverse array of cultured visitors – and their well-informed observations – reinforced my own perception that there is indeed something especially appealing about Israeli contemporary dance. It was illuminating to talk to repeat attendees and learn that they found this year’s festival stronger than in previous years; it was also encouraging to speak with first-time visitors and discover that they found several works of interest.
I had several stimulating conversations about the festival with Brian Schaefer, a dance writer and administrator based in San Diego, California. He has generously written a thorough, thoughtful reflection on the festival for Dance In Israel, offering an invaluable perspective from outside the scene. Enjoy!
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Seeing Israel through the Lens of Dance
By Brian Schaefer
Oil and water may be the most contentious of the commodities in the Middle East. But who says art can’t be a country’s natural resource as well?
Such is the purpose of International Exposure – a type of cultural trade fair to encourage the export of one of Israel’s most valuable products: its creativity. Each year for the past fifteen years, a flock of foreign presenters, managers, choreographers, and journalists has descended upon the Suzanne Dellal Center in Tel Aviv to get a crash course in contemporary dance in Israel in the hopes that we fall in love with an artist or company and take them home with us to introduce them to our families, or rather, audiences. It’s souvenir shopping on an entirely different scale.
The Israeli Ministry of Culture brings us here to demonstrate the wealth of dance in Israel, show us Tel Aviv as an exciting, cosmopolitan city, and let us discover just how far Israel has come from the pioneering, agricultural days of the kibbutzim and sabras when Israeli dance meant communal folk gatherings, which is still how most Americans consider it. So the point of International Exposure is to destroy that myth and show us an Israel that is innovative and cutting-edge, both in its technology and in its art.
The process of actually bringing a company to the States is a complicated pas de deux that relies on a lot of other factors that come later on. But for now, for this week, it’s about seeing work. A lot of work. An exhausting amount of work.
Still, the experience is extraordinary. And the impact is powerful. Five days later, we leave with a semblance of an idea of what makes contemporary dance in Israel so vibrant. Without trying to lump everything together – after all, one of the strengths of the program is its diversity – there are a few noticeable characteristics, trends, and themes that emerge.
Niv Sheinfeld and Oren Laor’s Big Mouth. Photo by Gadi Dagon.
It’s difficult as an outsider not to read too much about the regional conflicts into the work we see. Few artists, save perhaps for Niv Sheinfeld and Oren Laor who explicitly reference Israel’s military history in the engaging trio Big Mouth, admit to addressing politics in any way.
Yet as foreign critics and presenters who for the most part view Israel from the lens of international media, we inevitably look for ways that artists respond to their social surroundings. Maybe we look too much. But perhaps also the fact that such intentional reactions to the political environment are conspicuously lacking in so much of the work we saw is equally telling.
What we actually got in many instances was a complete departure from the realities of this world, and surprisingly often, we were thrust in to the realm of the absurd where the unexpected can occur at any moment, where things are never quite as they seem or can in an instant morph into something unrecognizable. The absurdity is also in the behavior, where over-the-top characters cavort about with exaggerated gestures, inhabiting fantasy worlds in extravagant costumes and bright make-up.
Inbal Pinto and Avshalom Pollak’s Trout. Photo by Asaf Ashkenazi.
Perhaps no Israeli choreographers better encapsulate this aesthetic and sensibility than Inbal Pinto and Avshalom Pollak. At International Exposure, the duo showed excerpts from the company’s repertory, the charming Rushes, made a few years ago for the American company Pilobolus, and the new evening-length work Trout, created in 2008 in Norway. In each, the zany characters and extravagant sets and props transport audiences into an imaginary place that may resemble reality at times but clearly isn’t.
Barak Marshall’s Rooster. Photo by Kfir Bolotin.
In Barak Marshall’s Rooster, we took a colorful visit to the shtetls of the 19th century to witness a love triangle mixing stories from the Bible and Yemenite folklore with a period aesthetic and surreal scenes of, for example, a man “laying” eggs in his mouth. It’s a work that, while perhaps a bit unfocused and difficult to follow for non-Hebrew speakers, exudes energy and charm and provides a strong showcase for the performers.
Across the board (for the most part), International Exposure guests walked away with a deep appreciation for Israeli dancers, whose focus and commitment is a noticeable strength of the performances.
Other works that dove into the absurd included Yasmeen Godder’s LOVE FIRE, complete with the gutting of a stuffed creature resembling some combination of goat and lion, an unexpected shower of blue glitter, and a dramatic illuminated heart made of diagonal fluorescent tubes. Yossi Berg and Oded Graf’s study in masculinity, 4 Men, Alice, Bach and the Deer, also made use of a life-sized dead animal, raising peculiar questions about the role of taxidermy in Israeli society. Okay, not really, but seeing both works in one night gave something to think about.
Michal Herman Dance Group’s Fellowship, based on a short Kafka story, embodied absurdity in the extreme mannerisms of its characters and their exaggerated interactions, as did Irad Mazliah’s Unter den Linden.
While not necessarily “absurd,” Artour Astman & Ilana Bellahsen’s ArtLana presented the two artists as babies in a wide-eyed, charming duet. The grotesque masks in Noa Dar Dance Group’s Anu suggested something of the absurd but dealt more explicitly with another theme that was largely prevalent throughout the festival – the struggle between the urge for individual expression and the pressure to conform.
The aforementioned Big Mouth tackled the topic effectively as did Maya Brinner’s Red Ladies, which followed a trio of women from synchronized harmony to individual awareness and then group conflict.
But perhaps no dance company in the world embodies this tension between group cohesion and individual identity than the Batsheva Dance Company, whose new work Hora closed the festival.
Batsheva Dance Company in Ohad Naharin’s Hora. Photo by Gadi Dagon.
Batsheva’s artistic director Ohad Naharin shifts quickly and effortlessly between complicated group sections, done in perfect unison (in a way that no other company can approach), to solos that marry abandon and control in surprising harmony. It’s a tactic utilized in several of his recent works, and just because it’s a recognizable pattern doesn’t mean its predictable. Yet here, the tool loses its impact. While past works like Shalosh (Three) or Mamootot, though still abstract, feel like they follow some sort of arc, Hora in comparison feels circular. At the end, we’re back at the beginning and as a result, it’s a bit harder to appreciate the journey, but then again, maybe that’s the point.
Naharin has always had eclectic music taste, easily moving from a traditional Passover song to the Beach Boys to soundscapes that he himself creates. In Hora, the score consists of some of the most recognizable and clichéd pieces of music by Strauss, Wagner, and John Williams borrowed from the archives or classic science-fiction films. Like the title of the work, Naharin challenges the audience to rearrange its reference points for the associations we have created throughout our lives.
As a result, he creates extremes of possibilities and the space in between where anything can happen and meaning is left ambiguous. Throwing viewers from one end of the spectrum to the other (from familiar to unfamiliar) with unrelated and nonsensical movements forces us to fill in the gaps of how they relate and what it all amounts to. And while you may not walk away with an answer, Batsheva ultimately leaves an impression that, indeed, there is something human within this controlled chaos after all.
I always get a sense, watching Batsheva, that there is something dark and explosive just under the surface, and that’s another thread that seemed to weave its way through the festival of Israeli choreographers and companies. Noa Dar’s Anu plunged suddenly into simulated rape, and Berg and Graf’s 4 Men, Alice, Bach and the Deer similarly incorporated sexual violence into the narrative.
Rami Be’er’s poem Infrared, which is also the name of the work for his Kibbutz Contemporary Dance Company, follows multi-colored soldiers into a garden, which the over-produced performance suggested rather explicitly. The company appears to have a wealth of resources at its disposal and produced a glossy show that, ultimately, was lacking in the substance and urgency that many of the smaller companies displayed.
Vertigo Dance Company in Noa Wertheim’s Mana. Photo by Gadi Dagon.
Noa Wertheim’s Vertigo Dance Company similarly approached the theme of complicated group dynamics. Yet their work Mana offered a depth and sense of intrigue that made it one of the most compelling pieces of the entire week, one that brings together many of the themes discussed here in a tight, luscious, and appealing package that foreign audiences are likely to respond well to.
If another theme might be added, it’s the embrace of classical music mashed with contemporary, fragmented movement. It’s not a new idea in contemporary dance, but the idea was particularly noticeable at this festival. In addition to the well-known scores in Batsheva’s work, Godder also used the waltz for inspiration, and Idan Cohen’s take on Swan Lake paired the Tchaikovsky score with sharp, defined, lightning-quick movement that actually made the idea feel current and relevant – no small feat for such an overused score and well-known ballet. But the sense that Israelis are resisting tradition, or at least looking to re-contextualize it to their new realities, came through loud and clear.
Maria Kong in fling. Photo by Gadi Dagon.
Of course, one can’t possibly force all of the performances into only a few basic themes. Defying all categorizations was the work by Maria Kong, a new company comprised of former Batsheva dancers. fling opens with an aching violin solo, performed facing away from the audience, while projections on two columns conjure a world of dark hallways, mysterious rooms, and the constant shift of shadows, which gives the sense that time is passing us by. Without a dancer on stage for the first nearly twenty minutes, a captivating world is created. When they do appear, the dancers move with robotic precision. The slight turn of a head sends waves that reverberate throughout another dancer’s body. Similarly, fling is a subtle work that makes a big impression.
And while International Exposure aims to present contemporary dance, we were also brought to the Israel Ballet studios to view excerpts from the company’s repertoire. The dancers were proficient, the partnering well-executed. But the formality of the ballet language doesn’t seem to fit this country.
Interacting with and observing Israelis on a daily basis during the week of the Exposure, the intimacy, suspicion, joy, tension, spirit, and vitality that seems to hover over society here is reflected in the works of contemporary artists that display the same such characteristics.
In comparison, the ballet, with its sterilized look, organized structure, clear gender roles, and polished edges seems to be just what everyone else is fighting against. And that conflict is what makes the dance in Israel so fascinating.