Allison P. Coudert
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Jews and Jewishness in the Dance World an International Research Conference at Arizona State University
September –October 2018 Jews and Jewishness in the Dance World an international research conference at Arizona State University celebrating and examining the impact of Jews and the Jewish experience on the dance field and broader communities | 1 Jews and Jewishness in the Dance World welcome Dear Conference Participant: On behalf of the organizing committee, I would like to warmly welcome you to Jews and Jewishness in the Dance World, an international conference at Arizona State University (ASU). Organized by the Center for Jewish Studies and the Herberger Institute for Design and the Arts at ASU, the conference and related events celebrate the substantial contribution of Jews to the world of dance as choreographers, dancers, dance educators, scholars and theorists. The conference also critically reflects on how dance expresses the complex, variegated Jewish historical experience as well as on the social and cultural role of dance in Jewish communities all over the world. This international and interdisciplinary conference is truly unique, bridging dance performance, scholarship, education and therapy. The event convenes over 100 dance practitioners and scholars from across the world, representing a wide variety of dance styles, disciplines and religious orientations. Two years in the making, it showcases the pioneering work on Judaism and the arts undertaken by the Center for Jewish Studies led by Dr. Hava Tirosh-Samuelson, Regents’ Professor of History and Director of the Center for Jewish Studies. The impetus was the hiring of the world-renowned Jewish choreographer, Liz Lerman, by the Herberger Institute for Design and the Arts, and my own ongoing scholarship at the intersection of dance and Jewish studies, within the School of Film, Dance and Theatre. -
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. -
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UCLA UCLA Electronic Theses and Dissertations Title Choreographing Livability: Dance Epistemes in the Kibbutz and in the Israel Defense Forces Permalink https://escholarship.org/uc/item/13b9m6nj Author Melpignano, Melissa Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Choreographing Livability: Dance Epistemes in the Kibbutz and in the Israel Defense Forces A dissertation completed in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Culture and Performance By Melissa Melpignano 2019 © Copyright by Melissa Melpignano 2019 ABSTRACT OF THE DISSERTATION Choreographing Livability: Dance Epistemes in the Kibbutz and in the Israel Defense Forces by Melissa Melpignano Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2019 Professor Susan Leigh Foster, Chair Choreographing Livability: Dance Epistemes in the Kibbutz and in the Israel Defense Forces traces the historical articulation of dance as a source of knowledge-formation in Israeli culture through two emblematic sites of performance, between the 1940s and the 2000s. It also proposes a theoretical intervention through the elaboration of the framework of livability, through which I explore the life-stakes and the political investment entailed in dancing within the specific context of Israel, in relation to its larger ideological tensions and political shifts. My investigation across sites of performance -
Reproductionssupplied by EDRS Are Thebest That Can Be Made
DOCUMENT RESUME ./ ED 218,195 : ' SO 014.145 . 1 ,.. , . AUTHOR . Fallon; Bennis J., Ed.; Mblbers, Mary Jane,,,Ed. TITLE, %. Focus on Dance X: Religion and Dance. INSTITUTION American Alliance for Health, ,PhysicalEducation, * Recreation, and Dance, Washiligten,.1).C. National, Dance Association. PUB -DATE 82, NOTE 89p.; Photographs may not reproduce clearly. AVAILABLE FROM American Alliance forHealth, 'Physical Education, Recreation and 'Dance, 1900 Association" Drive,Reston, -VA22091 (Stock Number 243 \27026; $9.95). EDRS PRICE MFO1 Plus Postage. PC .Not Available from EDRS. DESCRFPTORS American Indian Culture; Catholics; *glance,Essays; History; Jews;.*Re1igion IDENTIFIERS, Baptists; Mormons ABSTRACT and nd danceare thefoci' ofthe essays in this . publication. There are four major,Pectionsto the volume. The first section provides an overview of-the history ofdance and religion. The first 'essay provides an histoeical reviewup to the Middle Ages and describes dance as p "catalyst for religion"during this era. Other essayi discuss dance,and.the Catholic churchduring the Middle AgeP0 describe the gradualacceptance of dance, particularly sacred dance, up%to the'present time, and examine danceamong the Plains - Indians of Ameriqt. The second section, 'Danctand Organized Neligions,"\gontainsessays. that examine the role of dance in selected reliious denominations, incldding theMormons, Southern'. Baptilits, and Jewish denominations.Thethird section discusses the, use of dance as spiritual expression and as prayer. For example,one essay describes dance as a spiritual experience with elements of movement, form,, rhythm, and meaning. oane authorhutorously examines his return to organized reljogion througha physically toned and tuned body. The fourth section ekamines"Dance in Places of Worship." For example, one essay discusses.howas the'dancer's training goes on, the ,danier becomes aware of the perfection of God'screation. -
Yemenite Jewish Cultureand Dance: Popular Myths and Indigenous Activities in the Israel Context
YEMENITE JEWISH CULTUREAND DANCE: POPULAR MYTHS AND INDIGENOUS ACTIVITIES IN THE ISRAEL CONTEXT by Shalom Staub Of a11 the dance traditions arnong the world's Jewish European Jewish irnmigrants to Palestine during that period communities, few can clairn the popular attention and sought neither to preserve their old country ways nor adopt status associated with Yemenite dance. Movements simi1ar the cultura1 forms of the host majority (cf. Even-Zohar to or based on those once done in the hundreds of sma1l 1981: 5). Instead, they sought to break the stereotypes of towns and vi11ages scattered throughout the southern the European diaspora experience and create a new Jewish Arabian mountains have found their way to many new identity. As Itarnar Even-Zohar notes, contexts. The "Yemenite step", the "da'aseh", is part of ifested for contraposingתthe basic vocabulary among dancers at Israeli folk dance Among the numerous ways m a sessions on severa1 continents, as well as on stage. Yemenite " new Hebrew" to "old Dispora Jew" were the transition to dance is performed by dozens of ensembles, professional physical labor ... ; self-defense and the concomitant use of and arnateur, Yemenite and non-Yemenite, Israeli and arms; the supplanting of the old, "contemptible" Diaspora American. language, Yiddish, with a new tongue, colloquial Hebrew ... - adopting the Sepharadic rather than the Ashkenazic pronoun- ciation; discarding traditional Jewish dress and adopting Yemenite Jewish history cannot provide a full explanation other fashions (such as the Bedouin-Circassian); dropping for why this sma11 aspect of Yemenite folklife has assumed East-European family names and assuming Hebrew names such tremendous importance for so many people.