CW @ Tel Aviv Dance
במהלך ימי הפסטיבל, צוות הכותבות של Creative Writing יצפה במופעים נבחרים ויפרסם תגובות בזמן אמת. שיתוף הפעולה הזה פותח פתח לשיחה רחבה יותר על מחול – ועל האופן שבו כותבים עליו – באופן פתוח, יצירתי וביקורתי.
מהי כתיבה על מחול היום? בעידן של משפיענים, האם המלצות מחליפות ביקורות? האם עוד ניתן לכתוב בפתיחות בתוך קהילה קרובה ומקושרת? סיקור תרבותי מקצועי נמצא בנסיגה, אך שדה המחול ממשיך לצמוח ולהתפתח. האם כתיבה על מחול עדיין רלוונטית לאמנים ולקהל? כיצד ניתן לסקר מחול בעידן פוסט-ביקורת?
לקראת סוף הפסטיבל, Creative Writing ומרכז סוזן דלל יציגו שיח פאנל שיעסוק פתוח לקהל שיעסוק בשאלות על כתיבת מחול. במסגרת האירוע, הכותבות של הפלטפורמה ישתפו את הקהל בפרקטיקות שלהן ליצירת תגובות אישיות, משמעותיות ורפלקסיביות למופעים. הפאנל יכלול את העיתונאית, מבקרת וחוקרת התרבות מירב יודילביץ’ (הבמה, ולשעבר Ynet), עורך התרבות עידו שרם (ישראל היום), האמנית והעיתונאית ג’וי ברנרד (Creative Writing, מגזין פורטפוליו) ונעמי פרלוב (המנהלת האמנותית של מרכז סוזן דלל) בהנחיית אורי לנקינסקי.
This marks the first collaboration between Creative Writing and Tel Aviv Dance. Throughout the festival, artist-writers from the platform will attend selected performances and publish responses. This partnership invites a broader conversation about dance and how we write about it—openly, creatively, and critically.
What is the role of dance writing today? In an era of influencers, have reviews been replaced by recommendations? Can we still write honestly in a close-knit dance community? Professional cultural coverage is rapidly shrinking yet the dance field continues to grow and develop. Is dance writing still important to artists and audiences today? How can we cover dance in a post-critique era?
As part of Tel Aviv Dance, Creative Writing will host a panel discussion exploring these questions and share their practices for crafting meaningful, personal responses to performance. The panel will feature journalist Merav Yudilevich (Habama, formerly Ynet), culture editor Ido Schrem (Israel Hayom Magazine), artist and journalist Joy Bernard (Creative Writing, Portfolio), Naomi Perlov (Artistic Director of The Suzanne Dellal Centre) and will be moderated by Ori Lenkinski.
Read here:
This dance-sex which is not one: Thoughts about Hani Sirkis’s work “Take Off”
Sirkis, ever the dominating seductress, began to shed the layers of her outfit, remaining exposed in her undergarments. This wasn’t the titillating part. What was so thrilling was the fact that here she truly began to physically express herself as the skilled contemporary dancer that she is, bringing to life on stage her own signature and unparalleled mix of drag performance and dance.Read more
Yulia Frydin’s Reflections on ‘speech-less’ by Sharon Valevski
The performance presents the desire to be the chosen one of the public. Each and every one has a set time on stage during which they must convince us to choose them. They use every means at their disposal: virtuoso technique, unique movement, an individual personal story meant to stir our compassion and empathy. When necessary, they stand on a tall pedestal so that we can see and hear them better.
They want us to follow them. Their movement hypnotizes us into becoming captivated by them.Read more
תגובתה של ג׳ני בירגר ל׳לדמיין מחדש׳ מאת ניה בינגי ואילה מידן
The worlds oscillate between the tangible and the abstract, as Ayala employs a variety of materials and textures. Naya’s persona shifts as well, both through the costumes and accessories she adopts in each world, and through her movement choices, which range from the one end of classical flamenco to the other end of contemporary dance.Read more
רשמים על המופע ‘ארץישובחילדומם’ של נועה דר מאת יוליה פריידין
Noa is an exceptional performer, fully present in what she does. It’s impossible to tell whether what we’re seeing is choreographed, improvised, or both simultaneously. There is a strong sense of responsibility for the moment, for the present, for the body.Read more
Reflections on Julyen Hamilton’s ‘Koan- For Our Times’ by Ori Lenkinski
For a self proclaimed selfish bastard, Hamilton is one of the most gracious and generous people I have ever seen on stage.Read more
Ella Greenbaum’s Response to ‘Life in Lycra’ by Andrea Constanzo Martini and ‘Paradise’ by Matan Cohen
‘Life in Lyrca’ is all very funny but also thought-provoking, raising questions about the power dynamic between the creator and the audience. How much power does he have to instruct us on how to watch, what to think, how to understand and interpret, and when to applaud?
The work ‘Paradise’ by Matan Cohen deals with the harsh truth of life in our country.Read more
Ella Greenbaum’s Reflections on 1|2|3 MIX- Program 1
There’s something fairy tale-like about the Suzanne Dellal Center complex, even just arriving at the courtyard or the well next to Inbal Dance Theater feels like stepping into a princess’s palace. Being there, even for a moment, feels like a bubble separate from the city. And with all the support of 1|2|3, every princess immediately levels up to a queen.
So I went to take a peek at the next generation of dance royalty.Read more
פועל של הריקוד רוקד את הזיכרונות של המקום: מחשבות על היצירה ‘קמרה אובסקורה’ מאת עדי בוטרוס
I think of Boutrous’s wheat field as a particular site of memory, an object that is like the gun that appears in the first act to remind both the performer and ourselves of the place we come from.Read more
Ori Lenkinski reflects on ‘Puppet Party’ Plus
We won’t ever know the real effect of walking in and out of this war but in the film Puppet Party, Galina uses his many talents to convey the fractured pieces of himself unraveling and being unraveled. Read more
Jenny Birger’s Thoughts on ‘Waiting Places’ by Or Schraiber and Bobbi Jene Smith
Waiting Places by Bobbi Jene Smith and Or Schraiber is unarguably beautiful. Its beauty shines like a dew drop rolling from a rosebud, or the reflection of soft sunrise’s rays glimmering on the sea. Highly skilled and expressive dancers perform exquisite choreography, screened in black and white. The women’s long hair and dresses move along their athletic bodies, the men’s heels mark the fast tempo of the passing of time. The craftsmanship of everyone involved: the dancers, the choreographers, the camera and editing, and of course the music, is impressive and inspiring. I’m still left waiting, though, for something else. Something that perhaps was never intended to be part of this particular piece, yet without it the work feels incomplete. Read more