The Kelim Choreography Program is a bi-annual study program for artists from the field of dance/physical theatre/ performance, that want to deepen their research,thought and practice in the choreography realm.

The program offers a base in which the artists can develop their work, get acquainted with both the artistic soul and the concrete production aspects of the choreographic life. The participants  of the program will meet various artists, researchers, and influential figures from the art community, both as teachers and personal mentors.

Being in placed in the heart of the Kelim Choreography Center the program benefits from the wide scope of its activities:  along with the residency program, “March Hare” dance Festival, community and educational work, theoretic research and more. It offers a multidimensional study of the field and a close encounter with different practices and modes of operation. All of this takes place in the wide and spacious studios of the center, where participants will also enjoy personal rehearsal time to develop their work.

The program is a bi-annual program, divided to six trimesters .

Study days are Sunday and Monday, 9:30-15:30

The head of the program is Sharon Zuckerman Weiser – choreographer, performer and Dance-Dramaturg.

The program calls for –

People who see the field of choreography as a central  part of their life in the present and future.

People who have motivation and desire for creation, that strive to initiate and form new artistic opportunities and platforms.

The program includes high level physical-technical body work lessons in different contemporary practises and therefore requires an in-depth acquaintance and knowledge of working with the body.

The program is a post study program, designated for people with professional background and/or former experience in artistic/choreographic process and/or dance studies.

**please note, it is not an academic program for a degree

**All that said and done, the program keeps an open mind and heart for surprises that don’t necessarily fall within the criterias

Admission and registration

For an opportunity to get acquainted with the program, it’s content, the staff and more information, please join us on Sunday the 26th of May, 20:00, in Kelim.

Please RSVP to:

The application process:

First phase –

Please send us your artistic/professional CV; links to prior projects (studio work is acceptable if no performances are available), and a motivation letter (one page top) explaining your connection to the choreography field and interests and motivations to take place in the program.

Please send all applications to

Please send all photage as YOUTUBE or VIMEO links

Final date for submitting applications: 15 June, 2019

Second phase –

An artistic committee will review all applications.

Applicants found suitable will be invited to a workshop with the head of the program – Sharon Zuckerman Weiser, followed by personal interviews.

Program structure

First year
The first year of the program is a year whose nature is laboratory, research. It is divided into three trimesters, each examines a different theme, a 'super-question' to which inquiry and learning are channeled and from which the different approaches, the tools that are been offered are branched out. In addition to learning and research, the participant will work on developing a creation. The creative work frame will be accompanied and moderated by Sharon Zuckerman Weiser, the program's new director, and in addition to her, additional mentors will be available to the participants during their rehearsals.

Trimester I: Identity
The question of artistic identity is a key question in the investigation of an artist in every field. It is a question that confronts the creator with his background, the context and environment in which he lives, and the understanding of where the personal identity meets the 'Creator'. It is a question that examines and clarifies the artistic engine, and helps to accurately examine the work methods and research of each artist. Lior Avizoor will open the first year with a workshop, which is the development and expansion of the workshop "From Model to Creation", which she developed in Kelim. During the workshop, participants will learn about different artistic identities and understand different models of choreographic work. In the sphere of choreographic practice, different aspects of the question of identity will be examined: the transition from private inspirational materials to public artistic representation. The separation between the Nativity and the Acquired - different representations of identity, the definition of definitions and their purpose, the gap between creation and performance.

Trimester II: From improvisation to composition | Search →Find→Present
Many creative processes today use improvisation as a central tool for material exploration. Improvisation is not 'out of nothing' but 'out of something' and the entire accumulative database of the improviser is available to him during his work. Therefore, the development of the database, expansion and enrichment of the improvisational abilities are the direct development of his artistic work, as well as a future tool for use in working with others and by their guidance. The transition from searching the material to finding it, from turning it into a personal creative material, until it is brought as a component in the final choreographic work- brings the creator together with all the elements that are taken into account in the construction of a work. All the choices. The adaptation of the material in space and time, its creation into a continuum, its placement in space and the manner in which it is presented- are all elements that will be dealt with from different angles by the facilitators of the second part, among them the Improvisation Master - Julian Hamilton, the American choreographer and dancer David Kern and the artists Maya Mathilda Carol. In the sphere of choreographic practice, we will also deal with the question of: what is an artistic language if can such exist. And what will be the specific dialect of each participant's work.

Trimester III: mixed technique
After dealing with identity and the personal sphere on the one hand, and meeting the more abstract components of the choreographic work and improvisational instrument on the other hand, the third trimester brings together the participants with other elements with whom dance is been invited to conduct a relationship. The lens expands into other art and stage forms. Performance, theater, dance and media, site-specific art, and dance as a political and social tool (dance and community). Through a series of meetings and lectures with those involved in this kind of integration, participants will be invited to develop a third and last creation for this year, in which they will present to the public with their own private puzzle. Among the third trimester facilitators the curator Dafna Kron and the performance artist Michal Semama

Second year
In the second year of the program, the focus is transferred from laboratory work/mode to a more practical approach of work and production.
Throughout the second year, each participant will take part in a personal internship with a leading professional from the field which s/he cares to encounter.
The general scope of the second year content is to touch practical and production aspects of the choreographic work: sound (Dan Weinstein, Ohad Fishof), scenography (Kineret Kish), light/. The participants' final works will be the base through which the mentors will teach. In that way the participants learn while getting a professional guiding to the different aspects of their stage work/final work.
The subject of Dramaturgy will get an in-depth treatment. Courses with a number of dramaturges from different fields such as theatre/dance/ performance will be held and their external eye will be part of the final project guidance.
Apart from the internship, workshops and processes surrounding the production end, an emphasis will be put on writing. Dana shalev (a dance researcher and critic) will lead a course about the different writings needed as an artist- from applications to the performance-program. The Photographer Yair Meyouchas will lead a course about how to represent your creation through an image.
The second year will focus on the personal sight and insight of each participant and on the needs of every choreography and choreographer. Striving to encourage personal in-depth research in every project and looking for an accurate and relevant means and e artistic guidance to each and every participant.

Throughout the whole program:
In the last decade the dance field has gone through a 'brain revolution'. and a written world of research and choreographic knowledge is starting to manifest and influence the different modes of operation of dance and choreography.
The theory course will expose the participants to a wide theoretic scope regarding performative arts, philosophy and the body. These, in return, will continue to expand, grow and eco in the practical aspects of the program Theory classes will be held once every two weeks. The theory in the first year will be taught by Ido Feder. A reading group will be lead by Ran brown at the second year.

Body awakening
Learning/study days will be opened with a physical morning warm-up. The body-work will expose the participants to a wide range of techniques and approaches that improve and enhance the body knowledge. The knowledge acquired/ obtained/ researched in the lesson will sustain and enrich the choreographic work and expand the range of possibilities of the artistic work. Among the teachers: Sigal Bergman, Shani Granot, Iris Erez, Karmit Burian Anat Vaadia, Coralie Ladam and others.

Rehearsal space and mentoring
Working in the studio is a crucial learning time. It confronts us with work habits, coping with days in which the muse in not present, a space for playing and wallowing in our imagination. Mainly, it is a space to conduct our artistic practice, the choreographic action, the thing for which this program exists.
In addition the the working time in the two days program ,each participant of the program gets a weekly slot of rehearsal in Kelim throughout the year and a personal mentoring with the director's program/

Meet the Artist
Artist Meetings will be held throughout the year as a part of getting acquainted with the dance field and getting to know different models of local choreography and artistic thought. Different artists and choreographers will host classes and share their artistic views and perspectives, experience and take the participants to a practical experience in their world.
Among the artists: Hillel Kogan, Iris Erez, Arkadi Zides , Maya Weinberg, Yasmeen Godder, Anat Shamgar.

Photo by Malthe Stigaard. ©Studium Generale Rietveld Academie - Copy
Theoretician Prof. André Lepecki at Kelim Choreography Center /
Open lecture and a five days seminar at the Kelim Choreography Center, FEB 2019
Kelim Choreography Center in Bat Yam is pleased to host researcher and curator, Professor André Lepecki, Chair of the Department of Performance Studies at New York University (NYU). Supported by ARTIS (, the Center for Contemporary Art (CCA) Tel Aviv, and Outset Bialik Residency Israel.
Stephanie Maher /
Contact Improvisation/Accumulative nature
תמונה של אביתר ויוסף
Steps from Yemen to Hebron /
Workshop and a Performance
Evyatar Said, Yousef Hasasneh and Shira Eviatar present
TanzstŸck#2 von Laurent Chetouane. Premiere am 14.12.2007 in den SophiensŠlen in Berlin. ROHDATEN © Oliver Fantitsch, PF 201723, D-20207 HH, Deutschland, Tel: 040/562448, Tel: 0163/5405849,, Kto-Nr: 651067-205, P o s t b ank HH, BLZ 20010020, IBAN DE55200100200651967205, BIC: PBNKDEFF, St-Nr.: 22/431/03048 F i n a n z a m t H a m b u r g, Veroeffentlichung nur gegen namentliche Nennung, Honorar + 1/2 USt. und Belegexemplar laut meinen AGB.
---Weitere Bilder, auch in High-Res (17Mio), im Internetarchiv unter recherchierbar---
fields unfolding /every moment a living being /
Dance/performance workshop: Sigal Zouk
Nava Frenkel: Movement—————–Stillness /
Lilach Livne: The Non-Image and the Abstract /
The question of spiritual realization in the physical body
Lee Meir: Everything All the Time /
Julyen Hamilton: Making Dances- the space issue /
Iris Erez: Move (out) of Here /
שקר לבן אמת שחורה
Sharon Zuckerman: White Lie, Black Truth | Performative dance workshop /
יאיר ורדי
How to Curate Yourself: A workshop in creative work, dramaturgy and curation with Yair Vardi /
Orly Portal: Awareness through Belly dancing/North-African dance /
Amos Hetz: From Action to Movement /
Ponderosa on the Road /
Ponderosa on the Road’ brings together international artists from the expanded Pondi family in a unique situation that aims to share pOnderosa’s creative, inclusive and communal spirit with the Israeli cultural field
Brown crumpled paper
Choreographer Writer’s Workshop /
Led by Ori Lenkinski
What is the connection between writing and dance? Can one support the other, harm the other, change the other? Are they separate entities or do they coexist?
From Army to Art /
Become our partners in turning a military warehouse at the edge of Bat Yam [ Israel] into a choreography and cultural center!
Become our partners in turning a military warehouse at the edge of Bat Yam [ Israel] into a choreography and cultural center!
For the first time, five intensive meetings with the public in which Michal will share about the world of voice.
18.4, 25.4, 2.5, 9.5
In this series of workshops, Daniel Landau, together with interdisciplinary guest lecturers, invites you to investigate ways of navigating the body in its digital state.
IMG_2629 (1)
The workshop is based upon two assumptions. In order to become conscious choreographers who understand their work and not just “feel” it, one must decode the concrete work methods of the choreographer.
26.10, 2.11, 9.11, 16.11, 23.11, 30.11, 7.12, 14.12
Netta Yerushalmy sculpts and arranges simple yet unique movements into extraordinary shapes and formations.
21.12, 22.12, 25.12, 28.12
The workshop will explore the possibilities and potential for interaction with the community via creative processes.
11.1, 18.1, 25.1, 1.2, 8.2
2471©Elpida Orfanidou
Over the course of the meetings, we will attempt to linger in the space between physicality and concept in order to experience our physical intelligence and how it can support our choreographic work.
14.3, 21.3, 28.3, 4.4, 11.4
Geige @ Anna M. Fiala
Tradition and Rituals /
Workshop by Simon Mayer (Austria)
The Schuhplattler is more than just a traditional courtship dance from the Alpine region and should no longer be only reserved for men. So how can we change it?
15 March 2016