Dance Spreads Its Wings : : Israeli Concert Dance 1920–2010 / / Ruth Eshel.
Why did dance and dancing became important to the construction of a new, modern, Jewish/Israeli cultural identity in the newly formed nation of Israel? There were questions that covered almost all spheres of daily life, including “What do we dance?” because Hebrew or Eretz-Israeli dance had to be cr...
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Superior document: | Title is part of eBook package: De Gruyter DG Plus DeG Package 2022 Part 1 |
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Place / Publishing House: | München ;, Wien : : De Gruyter Oldenbourg, , [2021] Self-published, Tel Aviv, , [2022] ©2022 |
Year of Publication: | 2021 2022 |
Language: | English |
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Physical Description: | 1 online resource (XIII, 531 p.) |
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Table of Contents:
- Frontmatter
- Acknowledgments
- Contents
- Introduction
- Section I: Concert Dance in the Jewish Community in Pre-State Israel (1920–1948)
- Chapter 1 What Do We Dance?
- Chapter 2 The Various Ways of Making Hebrew Dance
- Chapter 3 Creation of Hebrew Holiday Pageants
- Chapter 4 Eretz-Israeli Expressionist Dance
- Section II: Three Aspects of American and Israeli Encounters (1948–1964)
- Chapter 5 Israeli Expressionist Dance Meets American Dance
- Chapter 6 American Dance Meets Dance in Israel
- Chapter 7 The American and Yemenite Encounter
- Section III: Is Ballet Still Legitimate? (1948–1964)
- Chapter 8 Sowing the Seeds of Ballet
- Chapter 9 The Israel Opera Ballet
- Section IV: Looking to Professionalize Dance: Looking to the Outside (1964–1980)
- Chapter 10 Political and Social Changes
- Chapter 11 The Batsheva Dance Company (First Era)
- Chapter 12 The Bat-Dor Dance Company (First Era)
- Chapter 13 The Israel Ballet (First Era)
- Chapter 14 New Standards for Dance Teaching
- Section V: Between the Periphery and the Center (1948–1980)
- Chapter 15 Tel Aviv – Center of Cultural Activity
- Chapter 16 Dance at the Edge of the Metropolis
- Chapter 17 To Dance in Holy Jerusalem and Socialist Haifa
- Chapter 18 Dance in the Kibbutz: The Struggle over the Necessity of Concert Dance
- Chapter 19 The Inter-Kibbutz Dance Company: How to Express Our Uniqueness Onstage?
- Section VI: The Breakthrough of Alternative Dance and Movement-Theater (1977–1990)
- Chapter 20 Alternative Dance
- Chapter 21 Batsheva 2: A Backup Company or New Dance?
- Chapter 22 Individualists and New Ensembles
- Chapter 23 Movement-Theater in Israel
- Chapter 24 How Do You Meet and How Do You Part?
- Section VII: Sowing Seeds – Setting Up Stages (1984–2000)
- Chapter 25 Stages for Creativity
- Chapter 26 The Spanish Stage
- Chapter 27 The Butoh Stage
- Chapter 28 The Arab Stage
- Chapter 29 The Ethiopian Stage
- Chapter 30 Immigrants from the USSR Encounter Israeli Dance
- Chapter 31 Broadening Horizons in Dance Education
- Section VIII: Veteran Companies in a Changing World (1980–2000)
- Chapter 32 The Curtain’s Still Up: Batsheva, the Israel Ballet, and Inbal
- Chapter 33 The Curtain Comes Down: Kol Demama, Tamar Jerusalem, Bat-Dor
- Section IX: About to Bloom (1990–2000)
- Chapter 34 It All Comes Together – Renaissance of Creative Impulse
- Chapter 35 The New Voice of the Kibbutz and Batsheva Dance Companies
- Section X: The Time and Place in Which We Live (1990–2010)
- Chapter 36 To Speak of Me I Knew
- Chapter 37 Eshkol-Wachman Movement Notation: Movement Speaking Its Own Language
- Chapter 38 The Religious and the Secular – The Dynamic Between Them
- Chapter 39 Taking a Political Stance
- Chapter 40 To Regions Only Imagined
- Summary
- Bibliography
- Index