DOCSLIB.ORG

Arts Education in Israel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arts Education in Israel March 2018 ARTS AS A DRIVER FOR SOCIAL CHANGE IN ISRAEL Author : Dr. Diti Ronen Editor: Ariel Adiram Translation: Kim Weiss ART AS A DRIVER FOR SOCIAL CHANGE IN ISRAEL ART AS A DRIVER FOR SOCIAL CHANGE IN ISRAEL The guide that you are about to read examines the basic and profound question: can and how should the arts serve as a driver for social change.* Author: Dr. Diti Ronen For many, the arts are perceived as superfluous. A play thing for the rich. The Editor: Ariel Adiram crème de la crème that only be enjoyed by society’s elite. For many donors, it Translator: Kim Weiss makes more sense to donate to a women’s shelter, to building a new hospital or to a program that integrates children with disabilities into the regular school Graphic Design: Studio Keren & Golan system. This saves or improves lives in a direct way and produces tangible results. This guide was written with generous support from five partners: This guide shows that the arts are a sophisticated, substantive, innovative and Angelica Berrie, Russell Berrie Foundation ancient vehicle for social change. It illustrates, for the reader, the capacity of the Wendy Fisher, Kirsh Family Foundation arts to simultaneously influence an individual’s or society’s mind and soul. It also Irith Rappaport, Bruce and Ruth Rappaport Foundation presents the arts almost limitless creative capacity to effect positive change. Rivka Saker, Zucker Foundation Lynn Schusterman, Charles and Lynn Schusterman Family Foundation This guide deals with core issues that are important for donors who donate to the arts: The writing of the guide was completed in consultation with an advisory committee: - How can philanthropic investment in the arts advance substantive and Tzion Abraham Hazan meaningful social change? Naomi Bloch Fortis - How can the impact of this type of investment be measured through genre- Prof. Ati Citron specific indices? Shlomit de Vries - How can investment in the arts strengthen Israeli society in 2018? Tsila Hayun - How is it possible to work in accordance with and increase government investment in this field? - How do the arts help strengthen ties between Israel and Jewish communities abroad? - How does art education encourage citizenship that is more aware, analytical and open? This guide deals with questions that donors frequently ask: - How is it possible to identify and differentiate between art that effects social change and art that is purely creative? - How do the arts impact on Israeli society? - What are the most prominent trends and how can they be compounded? - What part should the government play in subsidizing the arts? - How can an individual donor impact on the artistic arena? We hope that the information that is provided in this guide will expedite the exchange of information between donors and increase the likelihood of future funding for cultural bodies and institutions Greenbooks are research reports written specifically for the funding community. * This guide does not provide a complete overview and does not cover everything that Each unbiased, comprehensive guide focuses on a problem currently facing the is happening in the Israeli arts scene. It is, however, an honest attempt to show the Jewish community, maps out the relevant history, and details a wide range of importance of art as a vehicle for social change, the climate in which it is working and approaches being taken to address the problem. Greenbooks are produced by to provide a wide and diverse range of examples of artistic actions that are attempting the Jewish Funders Network. Greenbooks are available for download at: to bring about meaningful social change in Israel. The following pages are filled with www.jfunders.org/Greenbooks examples of exemplary artistic actions, but there are many more that have been left out. www.jfunders.org www.jfunders.org TABLE OF CONTENTS 07 Introduction PART 1 — THE ARTS 15 How Do We Define Art 17 Artistic Outputs 23 Social Outputs 31 Economic Outputs 35 Conclusion PART 2 — THE SITUATION 38 Why Now? 43 Government Funding For the Arts 51 Arts Education in Israel 56 The Government’s Attitude toward the Arts 61 “The Situation” in Israel 66 Reuven Rivlin’s Four Tribes Speech 69 The Opportunity 70 Israeli Art as Jewish Art 74 The Arts as a Vaccination Against Boycott and Exclusion PART 3 — ARTISTIC FIELDS 78 Examples on the Ground—Introduction 85 Dance 88 Theater 93 Music 97 Visual Arts 103 Literature 105 Conclusion PART 4 — “FIVE WAYS” 108 The Five Ways model 110 The First Way: The Northern Way 119 The Second Way: The Factional Way 130 The Third Way: On the Wayside 140 The Fourth Way: The Southern Way 150 The Fifth Way: Crossing Oceans 160 Additional Information A diverse audience celebrates in the Mekudeshet festival, Jerusalem 2016. www.jfunders.org 7 INTRODUCTION The guide that you are holding outlines the advantages of strategic philanthropic investment in the arts as a driver for social change.1 It explains the critical role of the arts in society for both the general public and the artists themselves. It provides a broad overview of the arts unique and intrinsic benefits, illustrates their capacity to enrich, embody, and strengthen contemporary Jewish-Israeli culture, and underscores the critical importance of investing in the arts as a response to Israel’s current political reality. The guide objective is to provide as comprehensive an overview of the field as possible, by including a detailed synopsis of the key figures in the various artistic fields and an assessment of the leading civil-society initiatives that these institutions are spearheading, in addition the guide highlights “five paths”, out of many, that the arts are taking to bring about real and impactful social change. The guide aims, firstly, to answer two basic questions: why is it important to invest specifically in the arts, and why is it important to do this now? After answering these questions, the guide moves on to practical implementations and maps out all of the socio-artistic activities that are carried out in Israel, despite the difficulties, and despite the existential threat that hangs over Israeli creativity. The guide is divided into four main parts. PART ONE — BACKGROUND The first part of the guide is theoretical. It begins by defining art’s inherent advantages for society and explains the rationale for investing in the arts. It addresses the questions of why we should prioritize the arts, how the arts can be used for social change, and how they impact on society and its surroundings. This part of the guide answers questions such as: 1. “Art” (or the “arts”) relates in this booklet to the classical and familiar genres which include artistic creativity and their derivatives such as: visual arts including fine art, sculpture, video art, performance art and installations, design, photography, and cin- ema; performance arts including conventional theatre, object theatre, visual theatre, puppet theatre, and fringe theatre; music including classical music (from all eras and Residents of Yeruham cracking open sunflower seeds in an art installation at Zumu, in all arrangements) and ethnic music; and dance including contemporary and classical the first mobile museum in Israel, 2018. Photographer: Motti Wolf. dance; word art including belles-lettres and poetry. www.jfunders.org 1. What can be achieved by investing in the arts, and how can the results metaphorical journey to landmark destinations that create and change 8 be measured? 9 reality. This part answers questions such as: 2. What is the connection between humanism and values such as tolerance 1. What examples are there of artistic initiatives that effect social change to artistic creativity, and how can art be used for social change? through multi-genre art? What kind of social change are they creating, 3. How does investment in the arts contribute to education, the comm- and what is driving it? unity, and society? 2. How can a place – a city, a town, or a smaller settlement – use artistic tools to generate a competitive edge? PART TWO — INVESTMENT RATIONALE The second part of the guide is political in nature. It explains why Israel’s It is possible, and maybe even recommended, to read the guide from the current reality justifies philanthropic investment in the arts. This section end to the beginning. To start with the Five Ways, let them work their also delineates the social, cultural, educational, and political environment magic, get excited about the different journeys and milestones, and only in which Israel’s artistic community works and the difficulties and then to dive into the main part of the guide, glance at the rationale, or challenges with which it contends. take an in-depth look at the art scene in Israel and the accompanying This part answers questions such as: opportunities for wise philanthropic investment. Then go back to Part 1. In what kind of cultural, social, educational and political environment one to get a better understanding of the socio-cultural, political, and are artists, creative and performative institutions, and cultural bodies social context that is responsible for bringing, now in particular, Israeli currently operating? artists, creative bodies, and cultural institutions to the attention of Jewish 2. How does this environment impact on the artists and their creative communities worldwide. outputs, the creativity of cultural institutions, and the general Israeli public? We truly hope that you find the guide interesting and that it helps you appreciate the incredible potential of the arts and how they can be used PART THREE — THE ARTS for the social change that Israel so desperately needs. The third part of the guide is primarily pragmatic. It describes the anomaly of Israel’s current art scene which continues to function despite the difficult political situation and lists a number of examples of social and community projects that are working to bring about social change through art.
Load more

Recommended publications
  • Israel INTRODUCING GREECE Edited by Francis King by INTRODUCING SPAIN Joan Comay by Cedric Salter INTRODUCING YUGOSLAVIA with a Foreword by by Lovett F
    l In this series INTRODUCING INTRODUCING AMERICA by Barbara Kreutz and Ellen Fleming INTRODUCING GERMANY by Michael Winch Israel INTRODUCING GREECE edited by Francis King by INTRODUCING SPAIN Joan Comay by Cedric Salter INTRODUCING YUGOSLAVIA With a foreword by by Lovett F. Edwards David Ben-Gurion METHUEN & CO LTD 11 New Fetter Lane, London, E.C.4 .....,...... a.. - ... -.. x... mao·--z .. ,1.. .,..,- ..a-··""s"'' ..' -·-----.- ..... ~~-~ ... _.... .......... ___, .... ..._, ...... ~.- .. ,.... ,. _ First published in the U.S.A. with the title Everyone's Guide to Israel First published in Great Britain 1963 Copyright© 1962 Joan Comay Second Revised Edition 1969 Copyright © 1969 Joan Comay To Michael Printed in Great Britain by Cox & Wyman Ltd, Fakenham, Norfolk SBN 416 26300 3 (hardback edition) SBN 416 12500 x (paperback edition) This book is available in both hardback and paperback binding. The paperback edition is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated with­ out the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. INTRODUCING ISRAEL the vaulted roof is a fine example of Crusader architecture. Part of a hexagonal chapel stands near the original landing stage. This was one of three chapels attached to a large round church similar to the mother church of the Order in J eru­ salem. When the English Bishop Pococke visited the area in CHAPTER ELEVEN the eighteenth century, church and chapels, though ruined, were still standing, and in his travel account he wrote of the Haifa ' ..
    [Show full text]
  • University of California, Los Angeles. Department of Dance Master's Theses UARC.0666
    http://oac.cdlib.org/findaid/ark:/13030/c8833tht No online items Finding Aid for the University of California, Los Angeles. Department of Dance Master's theses UARC.0666 Finding aid prepared by University Archives staff, 1998 June; revised by Katharine A. Lawrie; 2013 October. UCLA Library Special Collections Online finding aid last updated 2021 August 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections UARC.0666 1 Contributing Institution: UCLA Library Special Collections Title: University of California, Los Angeles. Department of Dance Master's theses Creator: University of California, Los Angeles. Department of Dance Identifier/Call Number: UARC.0666 Physical Description: 30 Linear Feet(30 cartons) Date (inclusive): 1958-1994 Abstract: Record Series 666 contains Master's theses generated within the UCLA Dance Department between 1958 and 1988. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Copyright of portions of this collection has been assigned to The Regents of the University of California. The UCLA University Archives can grant permission to publish for materials to which it holds the copyright. All requests for permission to publish or quote must be submitted in writing to the UCLA University Archivist. Preferred Citation [Identification of item], University of California, Los Angeles. Department of Dance Master's theses (University Archives Record Series 666). UCLA Library Special Collections, University Archives, University of California, Los Angeles.
    [Show full text]
  • Dr. Dalia Liran-Alper – Curriculum Vitae
    The College of Management-Academic Studies April 2008 Date: September 16, 2014 Dr. Dalia Liran-Alper – Curriculum Vitae Personal Details: Academic Degree: PhD Phone Number at: Mobile: 0546-665480 School/Department: School of Media Studies, The College of Management-Academic Studies Academic Education: Name of higher education Year degree Year/s institution Subject Degree or diploma received 1976-1979 Hebrew University of International Relations, BA 1980 Jerusalem History 1980-1983 Hebrew University of Communication MA (practical 1983 Jerusalem program) 1989-1994 Hebrew University of Communication Thesis (theory 1994 Jerusalem program) 1998-2005 University of Haifa Education, Communication PhD 2005 M.A. and Ph.D. Details: (Institution, Adviser/s, Title) Masters thesis: Media representation of women in politics: Are they still “Domineering dowagers and scheming concubines”? (1994) Adviser: Prof. Gadi Wolfsfeld Doctoral thesis: Sociocultural construction of gendered identity among girls attending dance classes in Israel (2004) Adviser: Tamar Katriel Further Studies: Teaching license program, Levinsky College of Education, Tel Aviv (1995-1996) Academic Experience – Teaching: Year/s Name of institution Department/program Rank/position 1980-1992 The Open University International relations, Social patterns Instructor in Israel, Mass media, and others 1993-1997 Levinsky College of Faculty of Education, Teacher Lecturer Education Training 2011-1989 Beit Berl Academic School of Education, Department of Lecturer College Social Sciences 1994-2004
    [Show full text]
  • Saint Mary's College School of Liberal Arts Department of Performing Arts
    Saint Mary’s College School of Liberal Arts Department of Performing Arts Asian Dance Performing Arts PROFESSORS: Jia Wu OFFICE: LeFevre Theatre 5 OFFICE HOURS: by appointment only (T.TH 11:20 -12:50 pm) PHONE: (925) 631-4299 CLASS HOURS: 1:15-2:50 T TH COURSE DESCRIPTION: Classical dance is a significant symbol for the contemporary Asian nations-state and its diasporas. In this class, we will explore how the category of “classical dance” was defined in 20th and 21st century in Asia and investigate the performative value of the concept—that is, we will look into what the idea of “classical dance” does, how it is deployed, and examine the circumstances of its production and reception. Out of the many established classical and contemporary forms, our focus will be on,wayang wong and shadow puppet in Bali and Java, Kathak and Bharatanatyam in India, Peking Opera, Yangge, Ethnic Dances and “Revolution” Ballet in China and Classical Dance in Cambodia. We will explore the key sources upon which the dances are based; survey the histories of the forms that comprise the classical canon; and situate the revival, reconstruction, and institutionalization of classical dance as a symbol of national identity and heritage in these four nations. We will also look at “folk,” “social,” “popular,” “Bollywood,” “modern,” and “contemporary” dance as categories distinguished from—and which interrogate—classical structures. Throughout, we will critically consider the relationship between dance, colonialism, nationalism, religion, and social history. COURSE LEARNING OUTCOMES: 1. Dance in Bali and Java: students will be able to • Identify the basic characteristics and vocabulary in classical dance • Understand the key concepts and discourses involved in the study of these forms • Develop an awareness of the context and politics of performing as well as viewing these dances.
    [Show full text]
  • Society of Dance History Scholars Proceedings
    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
    [Show full text]
  • CID Virtual Library of the Dance at ​
    CID permanent program No. 4 CID Virtual Library of the Dance at www.CID-portal.org/virtual-library/ ​ Books and magazines authored or edited by members of the International Dance Council CID at UNESCO. The list is posted at the CID Portal and circulated world-wide. This results in : 1. Prestige, as the public realizes the enormous intellectual production of CID ​ ​ Members: more than 650 books and over 40 magazines. 2. More sales, since no publisher can have the wide contacts CID has within the ​ ​ dance world. 3. Lower cost, as readers can order books directly to publishers or to authors. ​ ​ 4. Feedback, since authors can receive comments from their readers. ​ ​ 5. Better acquaintance between CID members, once they know the research ​ ​ interests and publication achievements of each other. Books authored or edited by Members of CID ​ www.CID-portal.org/virtual-library/ Updated: 06 May 2019 ​ ​ - A - Aelita Kondratova (ed.): Proceedings of the 36th World Congress on Dance Research, Saint ​ Petersburg, 2013. Saint Petersburg, 2015. ​ Aelita Kondratova(ed.): Proceedings of the 39th World Congress on Dance Research. Saint ​ ​ Petersburg, Saint Petersburg Section CID, 2015, 184 p. Aelita Kondratova (ed.): Proceedings of the 47th World Congress on Dance Research. Saint ​ ​ Petersburg, Saint Petersburg Section CID, 2016, 222 p. Aja Jung (ed.): Decadance. Ten years of Belgrade Dance Festival. Beograd, 2013, 143 p. ​ ​ Alba G.A. Naccari: Pedagogia della corporeità. Educazione, attività motoria e sport nel tempo. ​ ​ Perugia, Italy, Morlacchi, 2003, 297 p. Alba G.A. Naccari: Le vie della danza. Pedagogia narrativa, danze etniche e danzamovimentoterapia. ​ ​ Perugia, Italy, Morlacchi, 2004, 295 p.
    [Show full text]
  • "Who's Right? Whose Rite? American, German Or Israeli Views of Dance" by Judith Brin Ingber
    Title in Hebrew: "Nikuudot mabat amerikiyot, germaniyot ve-yisraliot al ma<h>ol: masa aishi be'ekvot ha-hetpat<h>ot ha-ma<h>olha-moderni ve-haammami be-yisrael" m --- eds. Henia Rottenbergand Dina Roginsky, Dance Discourse in Israel, published by Resling, Tel Aviv, Israel in200J "Who's Right? Whose Rite? American, German or Israeli Views of Dance" By Judith Brin Ingber The crux of dance writing, history, criticism, research, teaching and performance of course is the dance itself. Unwittingly I became involved in all of these many facetsof dance when I came from the US forfive months and stayed in Israel forfive years (1972-77). None of these facetswere clear cut and the diamond I thought I treasured and knew how to look at and teach had far more complexity, influences with boundaries blending differently than I had thought. Besides, what I had been taught as to how modem dance developed or what were differencesbetween types of dance had different bearings in this new country. My essay will synthesize dance informationand personal experiences including comments on Jewish identity while reporting on the ascension of modem dance and folkdance in Israel. It was only later as I began researching and writing about theatre dance and its development in Israel, that I came to realize as important were the living dance traditions in Jewish eydot (communities) and the relatively recent history of the creation of new Israeli folkdances. I came to see dance styles and personalities interacting in a much more profoundand influential way than I had ever expected. I was a studio trained ballet dancer, my teachers Ballets Russes alums Anna Adrianova and Lorand Andahazy; added to that, I studied modem dance at SarahLawrence College in New York.
    [Show full text]
  • The Conference Booklet
    Contents Welcome and acknowledgements ............................................................................... 2 Keynote speaker information ....................................................................................... 5 Conference programme .............................................................................................. 8 Sunday 9th July ........................................................................................................ 8 Monday 10th July ..................................................................................................... 9 Tuesday 11th July .................................................................................................. 14 Wednesday 12th July .............................................................................................. 19 Abstracts ................................................................................................................... 23 The conference is generously supported by • The School of Divinity, University of Edinburgh • The British Association for Jewish Studies • The European Association for Jewish Studies • The Astaire Seminar Series in Jewish Studies, University of Edinburgh Other sponsors • Berghahn • Brill Publishers • Eurospan • Littman Library of Jewish Civilization / Liverpool University Press • Oxbow Books • Peter Lang • University of Wales Press • Vernon Press Connecting to WiFi during the conference Follow the instructions provided in your conference pack or use eduroam. Tweet about the conference #BAJS2017
    [Show full text]
  • Finding Layers in the Gaga Movement Language
    Ine Terese Hogstad Finding Layers in the Gaga Movement Language A Study of Lived Experience of the Gaga Movement Language in the Dancing Community Gaga/people at the Suzanne Dellal Centre, Tel Aviv Nordic Master’s in Dance (NO-MA-DS) Norwegian University of Science and Technology Faculty of Humanities Department of Music, Dance studies Autumn 2015 Table of Contents Table of Contents………...……………...……………………………………………………1 Acknowledgements……………………...……………………………………………………3 Chapter 1 Introduction…………...…………………………..……………….…………4 Chapter 2 Methods and Theory……………………..…………………...…………….7 2.1. Combining Methodologies……………………………………………………….8 2.2. The Hermeneutic Methodological Approach.……...…………………………..9 2.3. Embodied Knowledge………………………………...…………………..…….10 2.4. The Stance of the Individual Researcher/ a Dancer’s Habitus………...…….11 2.5. The Conflict of Multiple Realities and Contextualization……………...…….12 2.6. The Use of Tools in my Fieldwork……………………………………………..14 2.6.1. Informants…………………………...………………………………...14 2.6.2. The Qualitative Interview…………………………………………….15 2.6.3. Participant Observation and Field Notes…...……………………….16 Chapter 3 Historical and Demographic Context…..……………..………………18 3.1. The Development of Gaga…………………………………...…………………18 3.2. Tel Aviv-Yafo and Suzanne Dellal Centre…………………………………… 20 Chapter 4 The Phenomenon Gaga……………………………………………...........23 4.1. A Gaga Class…………………………………………………………….............23 4.2. Teacher and Participants...…………………………………………………….25 4.3. Gaga Lexicon and the Use of Images…………………………….………….…26 4.4. The Fluid and Universal Aspects of Gaga……………………………………..31 4.5. The Effect of Gaga……………………………………………………...………33 Chapter 5 The Cultural Context…….…………………………………….…………36 5.1. The Dancing Community Gaga/people….…………………………………….36 5.2. Father Gaga………………………….………………………………………….37 5.3. The Batsheva/Gaga/Naharin Connection………………….…………….........40 5.4. Technique and Style: the Labels that Doesn’t Quite Fit...…….……………..41 Chapter 6 Concepts and other Levels of Gaga………...……..……………...........43 6.1.
    [Show full text]
  • Happy Feet Don’T You Just Love to Dance? I’Ve of the Founders of the School of Danced Since I Was a Young Girl, American Ballet)
    Education jly icEdid xywd YourYour Jewish Jewish (Internet) Connection Connection! Brought to you by the Lifelong Learning Committee – Written by Linda S Trapasso Happy Feet Don’t you just love to dance? I’ve of the founders of The School of danced since I was a young girl, American Ballet). Moreover, King taking ballet and tap lessons. As Juan Carlos I of Spain honored a young adult, I would dance at an Israeli flamenco dancer for concerts and always at weddings. training generations of flamenco I eventually moved to country dancers in a Tel Aviv studio. line dancing. A few years ago I (Wikipedia) national identity. One of these discovered ballroom dancing. I The Romanian Jewish dancer dances is Mayim Mayim, created don’t dance much now, but I’m Baruch Agadati introduced the in the late 1930s when water was very happy when I am dancing. hora, a circle dance, in Israel. In discovered at Kibbutz Na’an. I’m Many Eastern European folk thinking dances were given a Zionist twist about to become Israeli folk dances. The trying Yivo Encyclopedia of Jews in contra Eastern Europe has an interesting dancing. article on dance divided between The other traditional dance and theatrical type of 1924, he worked together with dance. Unfortunately, folk dance dance I a composer and songwriter to is not as popular now in Israel love? Jewish dance! choreograph a show performed by as it was, and Israelis are turning How many kinds of Jewish dance the Ohel Theater Company, which to more contemporary forms of are there? Well, there is Israeli folk toured the pioneer settlements of dance.
    [Show full text]
  • The Yemenite Dance Materials of Saralevi-Tanai
    Jewish Folklore and Ethnology ReviewJ Vol. 20J Dance isl THE YEMENITE DANCE MATERIALS OF SARALEVI-TANAI ish on Thy to Giora Manor go : of y ••• Nobody, even she herself, can be sure what age folkloric traditional patterns in many variations in lath shereallyis. This is not because of the usual vanity her choreography. of grand ladies of the dance, who think they can Only when Sara became a student at the cheattime but succeed only in making the life of LevinskyTeachers Seminar in Tel Aviv in her late be dance historians difficult. The true date of birth teens, did she go to visit the Yemenite quarter, an for perhaps the most important Israeli Kerem Hatrymanim. There she heard and saw my Ir it. choreographer of the last fifty years is unknown. Yemenite song and dancing and encountered the SaraLevi-Tanai was born in Jerusalem sometime ion, rich artistic heritage of her ancestors. As she has before the First World War to parents who had often said, " I knew Dostoyevski and Shakespeare come from Yemen in the 1880s. They moved to long before reading the poems of the great Jerusalemduring the era of the Ottoman reign and Yemenite poet Shalom Shabazi ... " under the Turks there were no official birth In order to fully understand her work and its certificates.When Sara was about four years old, relation to ancient Yemenite folk traditions, it is her mother and siblings died in an epidemic, necessary to deal with several important points, probably of cholera. Her father, who had severe including the contrast in her own background alcoholproblems, abandoned his daughter to her between her Western and her Yemenite ancestry; own fate.
    [Show full text]
  • Martha Graham Collection
    Martha Graham Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2007 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: http://lccn.loc.gov/2010561026 Finding aid encoded by Library of Congress Music Division, 2010 Finding aid URL: http://hdl.loc.gov/loc.music/eadmus.mu010008 Latest revision: 2012 July Collection Summary Title: Martha Graham Collection Span Dates: 1896-2003 Bulk Dates: (bulk 1926-1991) Call No.: ML31.G727 Creator: Graham, Martha Extent: 350,100 items ; 398 containers ; 590 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Martha Graham was an American modern dancer, choreographer, teacher and company director. The Martha Graham Collection is comprised of materials that document her career and trace the history of the development of her company, Martha Graham Dance Company, which became the Martha Graham Center of Contemporary Dance, and school, Martha Graham School, later to be called the Martha Graham School of Contemporary Dance. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Barber, Samuel, 1910-1981. Copland, Aaron, 1900-1990. Dello Joio, Norman, 1913-2008. El-Dabh, Halim, 1921- Emmons, Beverly. Graham, Martha--Archives. Graham, Martha--Correspondence. Graham, Martha--Photographs. Graham, Martha. Graham, Martha. Hindemith, Paul, 1895-1963. Horst, Louis. Hovhaness, Alan, 1911-2000. Karan, Donna, 1948- Lester, Eugene.
    [Show full text]