Chapter 30 Immigrants from the USSR Encounter Israeli Dance

Chapters in this book

1. Frontmatter I
2. Acknowledgments V
3. Contents VII
4. Introduction XI
5. Section I: Concert Dance in the Jewish Community in Pre-State Israel (1920–1948)
6. Chapter 1 What Do We Dance? 1
7. Chapter 2 The Various Ways of Making Hebrew Dance 12
8. Chapter 3 Creation of Hebrew Holiday Pageants 27
9. Chapter 4 Eretz-Israeli Expressionist Dance 31
10. Section II: Three Aspects of American and Israeli Encounters (1948–1964)
11. Chapter 5 Israeli Expressionist Dance Meets American Dance 49
12. Chapter 6 American Dance Meets Dance in Israel 65
13. Chapter 7 The American and Yemenite Encounter 86
14. Section III: Is Ballet Still Legitimate? (1948–1964)
15. Chapter 8 Sowing the Seeds of Ballet 101
16. Chapter 9 The Israel Opera Ballet 115
17. Section IV: Looking to Professionalize Dance: Looking to the Outside (1964–1980)
18. Chapter 10 Political and Social Changes 129
19. Chapter 11 The Batsheva Dance Company (First Era) 132
20. Chapter 12 The Bat-Dor Dance Company (First Era) 155
21. Chapter 13 The Israel Ballet (First Era) 166
22. Chapter 14 New Standards for Dance Teaching 176
23. Section V: Between the Periphery and the Center (1948–1980)
24. Chapter 15 Tel Aviv – Center of Cultural Activity 185
25. Chapter 16 Dance at the Edge of the Metropolis 188
26. Chapter 17 To Dance in Holy Jerusalem and Socialist Haifa 199
27. Chapter 18 Dance in the Kibbutz: The Struggle over the Necessity of Concert Dance 211
28. Chapter 19 The Inter-Kibbutz Dance Company: How to Express Our Uniqueness Onstage? 219
29. Section VI: The Breakthrough of Alternative Dance and Movement-Theater (1977–1990)
30. Chapter 20 Alternative Dance 241
31. Chapter 21 Batsheva 2: A Backup Company or New Dance? 247
32. Chapter 22 Individualists and New Ensembles 252
33. Chapter 23 Movement-Theater in Israel 282
34. Chapter 24 How Do You Meet and How Do You Part? 286
35. Section VII: Sowing Seeds – Setting Up Stages (1984–2000)
36. Chapter 25 Stages for Creativity 301
37. Chapter 26 The Spanish Stage 309
38. Chapter 27 The Butoh Stage 316
39. Chapter 28 The Arab Stage 324
40. Chapter 29 The Ethiopian Stage 333
41. Chapter 30 Immigrants from the USSR Encounter Israeli Dance 340
42. Chapter 31 Broadening Horizons in Dance Education 347
43. Section VIII: Veteran Companies in a Changing World (1980–2000)
44. Chapter 32 The Curtain’s Still Up: Batsheva, the Israel Ballet, and Inbal 357
45. Chapter 33 The Curtain Comes Down: Kol Demama, Tamar Jerusalem, Bat-Dor 379
46. Section IX: About to Bloom (1990–2000)
47. Chapter 34 It All Comes Together – Renaissance of Creative Impulse 399
48. Chapter 35 The New Voice of the Kibbutz and Batsheva Dance Companies 410
49. Section X: The Time and Place in Which We Live (1990–2010)
50. Chapter 36 To Speak of Me I Knew 433
51. Chapter 37 Eshkol-Wachman Movement Notation: Movement Speaking Its Own Language 460
52. Chapter 38 The Religious and the Secular – The Dynamic Between Them 474
53. Chapter 39 Taking a Political Stance 482
54. Chapter 40 To Regions Only Imagined 491
55. Summary 501
56. Bibliography 505
57. Index 515