CW @ Jerusalem International Dance Week
CW is thrilled to collaborate with Machol Shalem Dance House during the upcoming Jerusalem International Dance Week.
For this collab, we put together a special group of Jerusalemite writers to cover the brilliant program.
Our Dance Week team will include:
Efrat Nehama- choreographer, poet, interdisciplinary artist and teacher.
Joy Bernard- writer, choreographer, performer and interdisciplinary artist.
Doron Gallia-Kind- artistic director, producer, performer and director.
Read their responses to select performances in the festival’s program here:
רשמים של דורון גליה-קינד ל׳זיקיות׳ מאת ענת שמגר ואורי שפיר
This gap between the two, between Shamgar’s certainty and Shafir’s searching, creates the backbone of the performance. It is an intriguing gap, full of potential. At times, their meeting feels like a dialogue interrupted between sentence and sentence. Rather than producing conceptual unity or emotional fusion, the separateness remains clear, and as a viewer I felt it strongly.Read more
מחשבות של אפרת נחמה על הגמר של התחרות הבינלאומית לכוריאוגרפיה
The final round of the International Choreography Competition, in which four works were presented, does not coalesce into a overarching theme, rather it reveals itself as a consistent emotional space. Loneliness emerges as a point of departure and as raw material. Three solo works and one trio draw a portrait of contemporary dance as a practice of being alone, even when others are present on stage and despite the presence of spectators. This is not romantic or sentimental loneliness, but an existential loneliness of the artist and the dancer, those who operate within themselves, out of division, tension and inner struggle, and who seek to communicate it not through confession or narrative, but through a moving body in inner and outer space and in time.Read more
תגובתו של דורון גליה-קינד ל׳מבוסס על סיפור אמיתי׳ מאת מעין ליבמן-שרון
Based on a True Story is a moving performance, full of tenderness and softness, and for the most part also full of compassion. It brings us into contact with states of fragility and strength, with relationships that are built and unraveled in moments, with the possibility of telling a story without speaking it in words. There is generosity of body and of heart, and a deep appreciation for the humanity that exists between the performers.Read more
רשמים של אפרת נחמה מ׳4 פנטזיות וקוף׳ מאת יוסי ברג ועודד גרף
The power of the work ‘4 Fantasies and a Monkey’ lies in its ability to allow and create an imagined space to wander through, even if only for a few moments. The audience is invited to walk through the forest clearing, and it does not fear crossing it, because it is faithfully guided by a multitude of images. Like Hughes’s eternal fox, ‘4 Fantasies and a Monkey’ turns the one-time moment into the eternal, and the human consciousnesses within it into a walkable, infinite space.Read more
נופלות, מתעלות, שורדות: ב-“חשוף על חלודה” יסמין גודר ולהקתה רוקדות במצולות מאת ג’וי ברנרד
It is clear to me even from this opening image that this time Godder is not inviting us to a party, as in “Shout Aloud,” her company’s previous show created in collaboration with the singer Dikla, which was a showcase of explosive and sensual feminine energy. Nor is she withdrawing inward with the same fragility that characterized “Practicing Empathy 3.” No, this time Godder is leading us through the gates of the underworld, deep into a universe of feminine lamentation and illusion.Read more
רשמים של דורון גליה-קינד ל׳זיקיות׳ מאת ענת שמגר ואורי שפיר
This gap between the two, between Shamgar’s certainty and Shafir’s searching, creates the backbone of the performance. It is an intriguing gap, full of potential. At times, their meeting feels like a dialogue interrupted between sentence and sentence. Rather than producing conceptual unity or emotional fusion, the separateness remains clear, and as a viewer I felt it strongly.Read more
מחשבות של אפרת נחמה על הגמר של התחרות הבינלאומית לכוריאוגרפיה
The final round of the International Choreography Competition, in which four works were presented, does not coalesce into a overarching theme, rather it reveals itself as a consistent emotional space. Loneliness emerges as a point of departure and as raw material. Three solo works and one trio draw a portrait of contemporary dance as a practice of being alone, even when others are present on stage and despite the presence of spectators. This is not romantic or sentimental loneliness, but an existential loneliness of the artist and the dancer, those who operate within themselves, out of division, tension and inner struggle, and who seek to communicate it not through confession or narrative, but through a moving body in inner and outer space and in time.Read more
תגובתו של דורון גליה-קינד ל׳מבוסס על סיפור אמיתי׳ מאת מעין ליבמן-שרון
Based on a True Story is a moving performance, full of tenderness and softness, and for the most part also full of compassion. It brings us into contact with states of fragility and strength, with relationships that are built and unraveled in moments, with the possibility of telling a story without speaking it in words. There is generosity of body and of heart, and a deep appreciation for the humanity that exists between the performers.Read more
רשמים של אפרת נחמה מ׳4 פנטזיות וקוף׳ מאת יוסי ברג ועודד גרף
The power of the work ‘4 Fantasies and a Monkey’ lies in its ability to allow and create an imagined space to wander through, even if only for a few moments. The audience is invited to walk through the forest clearing, and it does not fear crossing it, because it is faithfully guided by a multitude of images. Like Hughes’s eternal fox, ‘4 Fantasies and a Monkey’ turns the one-time moment into the eternal, and the human consciousnesses within it into a walkable, infinite space.Read more
נופלות, מתעלות, שורדות: ב-“חשוף על חלודה” יסמין גודר ולהקתה רוקדות במצולות מאת ג’וי ברנרד
It is clear to me even from this opening image that this time Godder is not inviting us to a party, as in “Shout Aloud,” her company’s previous show created in collaboration with the singer Dikla, which was a showcase of explosive and sensual feminine energy. Nor is she withdrawing inward with the same fragility that characterized “Practicing Empathy 3.” No, this time Godder is leading us through the gates of the underworld, deep into a universe of feminine lamentation and illusion.Read more