Two of Gelsey Kirkland’s dancers — one from an Israeli moshav, the other from Alaska — have choreographed ballet lives for themselves.
This season in New York City, several productions of “The Nutcracker” ballet are being staged around town, with angels, toy soldiers, Spanish dancers and fanciful figures bringing the classic story to life. One production features a muscular and lithe Israeli in the role of the prince and a poised young Jewish woman from Alaska as the female lead, Marie, the little girl who dreams herself into other kingdoms.
In his new work at BAM, Batsheva’s Ohad Naharin doesn’t separate his choreography from his troupe’s interpretation.
Celebrating its 50th season, Israel’s Batsheva Dance Company returns to BAM next week to present “Sadeh 21,” along with a master class — already sold out — and a talk by the company’s artistic director, Ohad Naharin.
A dysfunctional family is at center of Pilobolus dance troupe’s collaboration with Israeli fiction writer Etgar Keret.
Special To The Jewish Week
In their utter dependence and sheer vulnerability, children often keep dysfunctional families from spinning apart. But can children also provide the energy and drive to keep their family going? An acrobatic new dance by the modern dance company Pilobolus, “The Inconsistent Pedaler,” centers on a teenage girl whose family members lose all their energy and momentum as soon as she stops pedaling her stationary bicycle.
Surprisingly, Jews seem over-represented in an art form that melds mind, body and spirit.
Shira Vickar Fox
Special To The Jewish Week
‘Judaism is such an intellectual religion that people sometimes turn their backs on their bodies,” said modern dancer Anna Schon, who is Modern Orthodox. “It’s a religion of action, not just learning.”
Israeli-born choreographer Emanuel Gat takes on ‘The Well-Tempered Clavier’ in a new, evening-length work.
The Israeli choreographer Emanuel Gat has a theory about artistic creativity. Basically, there are two types of artists: one has a fairly clear vision of the work he wants to create before he begins, while the other has no idea at all. Instead, this latter type only uncovers something that already existed; he is merely a midwife, or as Gat puts it, a sort of scientist discovering hidden laws of nature that have existed all along.
Jewish and Dominican teens forming bonds over the Sosúa story.
Four years ago, Victoria Neznansky was faced with a difficult task. She was the newly hired chief program officer at the YM & YWHA in Washington Heights, which serves a predominantly Dominican community. And it was her responsibility to find a way to attract families from the area’s Jewish population, which had been dwindling for decades — all without alienating the dominant population.
Ohad Naharin’s relationship with the Alvin Ailey company goes back years. Now he’s helping the troupe’s new director ‘take the next step into the future.’
In the 1970s, Ohad Naharin’s career as a dancer in Israel was just taking off when he left for America to be with his wife. Naharin was, at the time, one of Batsheva’s most promising dancers, doted on by Martha Graham, the iconic American choreographer who helped train many performers in the budding Israeli company. But then he met Mari Kajiwara, an American dancer with the Alvin Ailey company.
Playwright Alfred Uhry and choreographer Martha Clarke explore the devoutly Christian group in ‘Angel Reapers.’
These days, a musical about a community where all members gather in the nude to sing and dance wouldn’t seem all that strange. After all, “Hair” has been around for decades.
But if you heard that this community was devoutly Christian, took vows of celibacy, and actually flourished nearly 200 years ago, you might raise an eyebrow. Perhaps you’d raise the other one if you heard that both the creators of this show were Jews.
Acclaimed young choreographer Avi Scher has had to balance the rigors of ballet and of Orthodox Judaism. It hasn’t been easy.
When Avi Scher was accepted to the School of American Ballet almost two decades ago, when he was 10, he and his family faced a stark choice: they could stay in Israel with their tight-knit Orthodox community, where Scher was already training with one of the country’s prestigious ballet companies.