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bODY rEMIX rEWOUND – on performing the same work fourteen years later by Kimberley De Jong

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I think the major opinion about returning to work as a dancer after maternity leave is that we become less hireable and that our bodies change for the worse. A big question employers ask is “how will these mother/dancers ever manage a tour life with children”? I understand these worries and to say I never had them would be lying. But how are we supposed to overcome certain beliefs if we believe them ourselves?Read more

Dear Dance by Noelle Ruggieri

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Dance, I need you to know you are my one and only, and
I will keep trying. If you could only see how much I love you, I know you’d love me back. I
want you to be devoted to me, like how I am devoted to you. I don’t want to be your side piece
anymore. I think I deserve more.Read more

Complaint Spirals in the Studio and at Home by Ori Lenkinski

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As a parent, and as a choreographer, these are some of the hardest moments. They are situations that require creativity, calm, patience and endurance. It is not easy to prize someone free of a complaint spiral, sometimes it’s nearly impossible. But, for me and my child, being able to identify that we are in one is somehow useful. And knowing that there is an end to it, that it will eventually resolve, provides the encouragement I, at least, need to get through.Read more

Emotionally High Risk Pregnancies and the Care They Require by Ori Lenkinski

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It is impossible to divorce the emotional strain of bringing a child into the world from the physical effort. They are two sides of an intense, forty-week-long journey and they are both valid, legitimate and real elements of it. Doctors and healthcare providers need to broaden their approach to pregnancy and the care given to women needs a more holistic perspective on mind and body.Read more

The (de)Sexualized Body on Stage by Ori Lenkinski

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In the same week, I attended performances of 2019 by Batsheva Dance Company and Shira Eviatar and Hadar Ahuvia’s Possessing. As an audience member, my reflections on these shows were influenced by the juxtaposition of the two in my mind. After all, audiences always bring the past experiences into the theater, superimposing what they haveRead more

Porousness by Ori Lenkinski

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On some molecular level, crossing the threshold into parenthood stripped away a few layers of my outer skin. I spent my twenties gearing myself up to face the world, pummeling through the subway system in New York City, bartending into the wee hours. I was an armadillo. Becoming a mom was like going through security at the airport. Metaphorically, I arrived with a hoodie and boots and came out the other side in socked feet and a tank top. Bare minimum.Read more

Does Finance Impact the Dances We Make? Thoughts on Curtain 2 by Ori Lenkinski

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It stands to reason that, when observing artistic works, in this case dance works, we should consider the financial stakes at hand in their creation. Whereas one artist can create something that will provide food and rent for tens of families, another will make a work that will put them in debt. Is the financial gain a factor in the work that is made?

Are artists creating small-scale work with little to no financial gain to be had actually freer to say what they want than the big dogs?Read more

Technique vs. Technicity by Ori Lenkinski

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Technicity is when a person can so fully embody their technique that they move through it, beyond it. Technicity is a catch 22 of sorts. In order to let go of technique, you need to first have it and that takes time and hard work. Then, once you have it, it’s very hard to let go of those hard-won abilities. But, the dancers I most admire are those who can do just that, leave technique behind and move forward, literally and figuratively.Read more

DOUBLETAKE of Carnations by Ronit Ziv- צפייה חוזרת בציפורנים מאת רונית זיו

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In a repeat viewing of the legendary Carnations by Pina Bausch (my first was in Caesarea many years ago, 1991?), I observe as one views a postcard sent from relatives in a distant country. It’s beautiful there but chilly. The essential element is missing, the thing that always characterized Pina Bausch’s works. The essential, for me, is the moment in which the action on stage floods out into the audience, threatens, keeps me up at night and makes me identify with the characters/dancers and to worry about their physical emotional well-being.Read more