The two-year choreography program is a space for guiding and training of choreographers and dance makers. The program looks at theory and choreographic practice, in order to foster the development and growth of the artists and their creative process with the goal of cultivating independent choreographers who are honest, bold, and innovative. Throughout the program these artists comprise a working group that investigates contemporary form and content.

The program focuses on choreographic processes: movement materials, idea building, clarity of expression, development and implementation of choreographic thought, introduction to the works of different choreographers, exercises in choreographic models, exposure to contemporary choreographic approaches, and personal studio practice.

Participants of the program meet twice weekly. Mondays are dedicated to workshops with guest artists. On Tuesdays the group meets with Anat Danieli, founder and Director of Kelim, who mentors each participant throughout his or her process. Workshops include choreography classes, presentations of works in progress, collaborative explorations, and discussions and panels with guest artists, choreographers, and theoreticians who respond to the participants’ works. Participants of the program receive rehearsal space and each year culminates with a showing of their works during “Kelim in June.”

Artistic direction / Anat Danieli
Direction / Tal Gravinski
Project development / Moshe Shechter Avshalom
Production / Mohran Bash

Workshops 2016-2017

How do we talk about art? How do we give an opinion and write criticism? How do we talk about meaning during our work in the studio?

Art generates the desire to talk, and simultaneously creates paradoxes and problems for speech. This workshop begins with the premise that every artistic act both enters the complexity of meaning and is also an exception to the complexity of meaning as it generates something beyond this entanglement. The participants will travel amongst various cultural artifacts as they talk about art and about the limitations of talking about art. We will be motivated to talk as much as possible in an effort to build and destroy interpretations and arguments.

We will irresponsibly jot between constitutive texts and our own dance practices., watch popular movies, and think of dance pieces. We will discern foundational problems of western culture such as: representation, body-mind relationship, the question of being, the origin of the image, reproduction age, tragedy, deconstruction, the sexual relation, etc. The investigation of the effects, attributes and means of artistic objects will join the question why does this object "work"? with the complexity of meaning that the object generates.

The materials for my creations are gathered in a process that begins with improvisation. As a performer and choreographer I am intrigued by the meeting of virtuosic movement and virtuosic improvisation using text, writing and vocalization. Text and movement are performative tools used to observe social and political phenomena as I endeavor to comment on the art form and the choreographic tools themselves. I am questioning conventions of the stage and the dance form, choreographic methods and processes, dancers and the essence of the act of dancing. I am drawn to what is culturally perceived as scary, human, and ridiculous. In my workshops, we experiment with the different tools that I draw upon in my own creative process. We extract various strategies, identify their mechanisms, explore and apply to them new content that is relevant to the participants. We will question the medium itself and the artistic and social conventions surrounding spoken word and the body.

Hillel Kogan has been creating dance works since 1996. He is the recipient of the 2015 Israel National Lottery Landau Prize; The Israel Critics’ Circle’s Outstanding Choreographer of 2013; and was named Promising Choreographer by European magazine Tanz in 1999 and 2014. For his choreographies, Kogan received the Yair Shapira Prize in 2010 and the Teva Prize in dance in 2009.

Kogan has performed as a company member of: the youth company Bikurei Machol (1990), The Batsheva Ensemble (1995-96), Nomades Dance Company of Switzerland (1996-98), the Gulbenkian Ballet of Portugal (1999-2005), was a guest performer with Batsheva Dance Company (2007). Since 2005, Kogan is working as Assistant Choreographer to Ohad Naharin. In this role, Kogan has worked with the Batsheva Ensemble as well as various foreign troupes. In 2015, Kogan was appointed as Co-Artistic Director of the Curtain Up Festival.

This workshop consists of five intensive meetings. Over the course of the workshop, we will cover the foundations of performance art while dismantling the process into its components. Participants will be exposed to documentary material of performance art artists active today along with relevant texts. We will explore modes that produce reaction, starting with the absorption of everything that exists: us, the time, the location, and the relationship between them. By collecting these materials and documenting them, we will build a reference environment where each individual will place himself or herself. The accumulation process is shared; the way of action is personal. We will work to use the human body as a sheet and a space. The medium is the body; the action is a piece of art.

Kineret Haya Max, performance art artist, graduated from the School of Visual Art (2007) and the annual performance work shop in Performance Art Platform (2008) conducted by Tamar Raban. Her recent work, 'Under the Sun", together with ensemble209 was nominated to Achbar Ha'ir reward (2015). She has performed in festivals and events in Israel and abroad. She teaches performance and conducts short workshops. She is the winner of the prize to promote art work by the Jerusalem Foundation, the America-Israel Foundation Scholarship and an Excellence Scholarship by the School of Visual Theater in collaboration with the Interdisciplinary Arena.

Model to Form is a choreography workshop exploring connection between motivation and process. We will observe working models of acclaimed choreographers, investigate the impetuses which lead them to use specific methodologies, view the context of these choices, and finally, try them ourselves. Alongside the inquiry into the chosen choreographers, we will examine general principles connecting preliminary intentions and final product.

Lior Avizoor is a curator, dramaturge, and researcher, currently completing her PhD dissertation at The Tel Aviv University. Lior has danced, taught, and created performances throughout Europe, Mexico and the U.S. Since returning to her native Israel, Lior is devoted to widening the local discourse around the performing arts. She curates the dance series KontraPunkt at the Tel Aviv Museum of Art, is the Co-Editor of Maakaf online magazine, and the Co-Artistic Director of Room Dance Festival. Lior teaches dance theory and practice in various places including: Beit Zvi Acting School, The Jerusalem Academy of Music and Dance, and Kelim Center for Choreography.

Open Workshops
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