The new choreography program (2017-2019) headed by Sharon Zuckerman Weiser
The two-year choreography program is designed to enable choreographers and dance artists to learn, experiment, grow and develop their art. Participants regularly meet with artists and art scholars who support learning and exploration by providing guidance on defining an artistic language and approaches to artistic creation. The program encourages creative risk-taking, strengthens physical technique, and fosters a deep understanding of and appreciation for the diverse field of contemporary dance and an autonomous approach to creation and production.
Among the teachers: Sharon Zuckerman Weiser, Ido Feder, Lior Avizoor, Dafna Kron, Maya Matilda Carroll, Julyen Hamilton, David Kern, Karmit Burian, Sigal Bergman, Shani Granot, Iris Erez, Michal Samama.
Admission and registration
The new choreography program opens once every two years. The next program will start in October 2019 and end in June 2021. Registration for the 2020 program will open in April 2019.
All candidates must submit a resume, links to previous pieces (filmed performances and pieces/work recorded in the studio will also be accepted), and a one-page personal letter describing their connection to the field of choreographic creation and interest in the choreography program at Kelim.
All materials should be sent to: email@example.com. Previous works must be shared as links to YouTube or Vimeo. An admissions committee will review the materials, and suitable candidates will be invited for an interview.
Tuition fee: 12,000 shekels per year, payable in up to 10 payments
Registration fee: 500 shekels
The first year’s emphasis is on personal research. The year is divided into three trimesters, each dedicated to a different theme. Exploration and experimentation will be focused around a central question/inquiry according to which different approaches and tools will be brought to the forefront. During each trimester the students will create a piece. The director of the program, Sharon Zuckerman Weiser, together with other mentors, will support the students in their creative processes and be available to them during rehearsals.
First trimester: Identity
The question of artistic identity is key to every artist’s search. It compels the artist to confront their history, the context and environment in which they live, and their understanding of how personal identity meets artistic identity.
Lior Avizoor, dance scholar and former dancer, will open the first trimester with a workshop on ‘models in artistic creation’, which she developed at Kelim. Participants will acquire knowledge of various artists and their different artistic identities and choreographic approaches. During the practical part of the workshop, various aspects of artistic identity will be examined, such as the transformation of sources of inspiration into an actual artistic representation, and the distinction between ‘nature’ vs. ‘nurture’ as different aspects of identity.
Second Trimester: From Improvisation to Composition
Improvisation is a central tool in any creative process. Movement created/discovered during an improvisation is based on the dancer’s foundation of accumulated knowledge and experience, which feeds and provides inspiration for improvisation. Therefore, enriching and expanding one’s own improvisational skills develop the artist’s ability to create, as well as their ability to work with or teach/guide others.
Through the process of searching for personal-interest and related movement material and shaping it into a choreographed piece, the artist becomes familiar with the different elements that need to be taken into consideration when creating a dance piece. The artist’s choice of material, its arrangement in a certain order, its adaptation and adjustment to time and space, and finally, its presentation- will all be addressed from different angles by the second trimester’s teachers- among them master of improvisation Julyen Hamilton, the dance artist David Kern (a former dancer for William Forsythe), and the Berlin-based dance artist Maya Matilda Carroll. During the second trimester we will discuss additional questions: What is ‘artistic language’? What language is each student choosing to use? How can we utilize our artistic language in different ways?
Third Trimester: Mixed Techniques
After exploring personal and artistic identity and learning about the different elements of choreographic creation and improvisation, the third trimester will focus on additional tools which can be used in dance, borrowed from other artistic fields such as performance, theater, media and technology, as well as site-specific work. We will consider the relationship between dance and community and discuss the use of dance as a political and social tool. During the third trimester the participants will create the final piece of their first year, in which they will present their personal collage, which may include any combination of elements they choose. Among the third trimester’s teachers are: Dafna Kron, Michal Samama and Karmit Burian.
During the second year the emphasis moves from personal exploration and research to hands-on practical experience in choreography and production. During the second year the students will create two pieces. The first piece, in which the choreographer will not participate, will be in collaboration with dancers/performers from outside the program. The second piece will be the final project. During the second year the students will apprentice with a choreographer/dance artist and be paired according to mutual interest. In addition, the program will touch upon the topic of writing papers/proposals/applications and other technical related issues.
Students will focus on their own approach, work methods, research and exploration – and each student will be provided with relevant guidance and support.
Throughout the program
In the last decade the field of dance has gone through a significant transformation. Alongside the developments in physical language, there is a completely new world of dance theory and research that is influencing choreographic approaches and practices. During bi-weekly theory classes students will be exposed to theories of performing arts and “body philosophies” which will enrich students’ somatic research.
The school also offers ‘Cinemay’, a monthly evening program led by the choreographer May Zarhi, which will include the screening of a full-length dance piece, followed by a video conference interview with the choreographer of the piece.
This is an opportunity to become acquittanced with artists from all over the world and their work, and be exposed to diverse artistic thought, approaches and activities.
Every day will begin with a morning class. During the program, a variety of teachers will teach different dance and movement techniques, to deepen students’ knowledge of the body and expand their “vocabulary of movement” for the creative process.
Among the teachers: Iriz Erez, Sigal Bergman, Shani Granot
Studios and mentoring
Independent studio work is critical for the learning process. In the studio we can play, explore and imagine, but it is also a place to evaluate our work habits and confront our difficulties when we have no inspiration. Above all, the studio is a place for creative work, the main goal of the program. During fixed times each week the studios will be available to the students. Mentoring sessions with the program’s teachers will also be provided.
An indispensable part of immersing ourselves in the field of dance is meeting local choreographers and dance artists and becoming acquainted with their creative work. The program will invite artists to share their artistic approaches and show excerpts of their work. Some of the participating artists will continue as mentors during the second-year internship.
Participating choreographers include: Hillel Kogen, Arkadi Zaides, Yasmeen Godder.
For additional information regarding the choreography program: firstname.lastname@example.org