Dance –Theatre performance for children.
Dr. Ow-It-Hurts, the animal doctor, gets an urgent call from the African animals at the Limpopo river. The doctor find himself struggling in a challenging journey – mountain climbing with eagles, ski with wolfs and exploring the depth of the ocean on a wale.
Will Dr. Ow-It-Hurts will make it on time and rescue his sick patients?
The young audience creates the set and costumes in a work shop before the show and participant on stage as animals from the story.
Duration: 50 minuts | Workshop: 30 minuts
Creation and performance: Amit Bar-Am | Choreographic consultation: Anat Danieli | Artistic consultation: Fyodor Makarov | Original music: Bezalel Borochov | Production: Kelim | Educational review: Orit Chorowitz Bar-Am | Set and Costumes: The Audience
The “Toolbox” is a joint creative process whose goal is to formulate a unique working method/model tailored to the specific needs and abilities of the group’s members, through which participants can ultimately create a dance piece for the stage.
As dancers, we communicate with our bodies through movement. We believe that the immediacy of the body can enable any person to communicate with others, regardless of social constructs that may separate them, and to articulate, if only for a moment, their feelings and dreams through performance.
The ‘Toolbox” project, beyond being a meeting place between art and the ‘other’, is an opportunity for learning and growth.
Project initiators: Kim Taitelbaum and Moran Abergel
This project brings together blind people and professional dancers to share a space for joint learning and mutual inspiration. The project’s creative work process consists of weekly dance improvisation classes which will lead to the creation of dance pieces for the stage. During the classes all participants are asked to explore visual impairment as an opportunity to discover new possibilities for creativity. The participants deal with the challenge of working together and explore new ways to communicate through movement, allowing for the expression of participants’ personal experience.
At the end of the process, the dance pieces will be shared with an audience.
Project initiator: Shiri Teicher
Participating dance artists: Shiri Teicher, Jenny Birger, Aya Steigman, Nir Vidan, Maya Tamir
Making Sense| Shira Eviatar
‘Making Sense’, a dance piece that is a confluence of various materials, an offshoot of a previous creation. This work examines the choreography of the creative process. What is the object of the creative process? What is revealed in the gap between the creative process and the dance piece that has evolved into a separate entity? This work examines disappearance, presence, omission and connection as fertile points-of-departure for creation. Does the present moment comprise particles of potential from the previous moment? Does the choice-not-taken stumble into the present and shape it?
During my studies at Kelim Choreography Center in 2015, I presented dance materials in the ‘March Hare’ Dance Festival, which later evolved into my work ‘Body Mandala’. Some of the original materials weren’t incorporated in the piece, and have been asking for resolution ever since. In 2018 I started working on a new dance piece together with Anat Amrani, Evyatar Said, Anat Vaadia and Eyal Bromberg. This piece raises questions regarding the meeting point between content and form, symbols and existence, the defined and the elusive.
Time and space are dynamic quantitative elements, according to Stephen Hawking. A body moved by force alters space-and-time, which in turn influence the way force interacts with an object/body.
Five people echo their surroundings with their bodies- each responding according to their own personal/historical experience to the shared present moment, transforming into prototypes of beings inseparable from their surroundings; body-environment as one interconnected entity. By doing so they raise questions about themselves, their surroundings and different ways of existing between these two coinciding forces. Their actions challenge the role of art, specifically of performance, which aspires to create human contact that moves and stirs people.
Can we adopt insights from the world of physics into the personal, political and philosophical aspects of our lives?
This is a multifaceted experiment; we examine how our bodies, which are inevitably influenced by our environment, have the power to counteract its impact on us.
This project evolved from Iris Erez’ research on her dance solo “Local/Not Easy”, in which she explores, through her own experiences, how locality influences our lives. This time Iris took five young dancers to examine how our physical choices in time and space can instigate change in locality, despite its deterministic nature.
Participating: Or Ashkenazi, Dor Frank, Maya Tamir, Matan Daskal, Zuki Ringart
Dramaturgy and artistic consulting: Sharon Zuckerman Weiser | Sound: Kim Taitelbaum | Production: Sigal Dahan | Many thanks to Kelim Choreography Center for their support.
Supported by ’Mifal Hapais’ artist fund 2018. The piece is a development of “The Makers” a site-specific dance piece which showed in the Bat Yam International Festival of Street Theater and Art 2018, recipient of the “Tights” residency at the Mandel Cultural Center.
TIMES END 10 | Einav Rosolio and Eva Shubstarska
In our dance piece ‘TIMES END 10’ we examine the concept of the inevitable end. We explore the attempt to extend it, the details that comprise it, the aesthetic and fantasy it embodies. We searched for different ways we can depict the elusive and dramatic nature of ‘the ending’, gave it many different names, embellished it. We chose Hollywood’s obsession with catastrophe as our starting point, studying how suspense built through sound and movement creates the pathos we are all accustomed to. We practiced the physicality of the moments prior to the end. The piece will show during the ‘March Hare’ Dance Festival 2019.
Revert to Manual | Sigal Bergman
During my residency at Kelim Choreography Center I developed a dance piece that examines my professional background and different modes of body practice that have stayed with me over time. For the past fifteen years I’ve been creating dance pieces while teaching the Alexander Method and dance improvisation. In this piece I chose to blur the lines between these three areas to bring forth something new. I wanted to enable the audience to experience their physicality as a means for personal growth and transformation. Thought changes movement, and movement changes us, the thinkers. The body changes thought and thought changes us, the movers.
This piece was developed in two phases. I first created ‘Revert to Manual’, a dance solo that premiered at the ‘Diver’ Dance Festival in 2018. I performed the solo in the classic format of stage and audience, and explored how the performance can also be a class, which has the power to heal. I continued to develop the piece for the ‘March Hare’ Dance Festival in 2019. This time I challenged the traditional relationship between stage and audience, inexplicitly inviting viewers to examine their physicality during the event, while I myself examined the information I wanted to share and the interaction with which to communicate it best.
She Stone Sea, let us play; I am a wave and you are floating, I am a severed stem and you are dreaming, I am a jungle animal and you are in love, you are a footprint in the sand – I am a warrior, you are a tree-root and I run away, you are nature – I am the memory. A body sculptured, as a living still-image. In a world of stillness we emerge; breaking a silence, forgetting the stillness, returning to it – naturally. We become nature, a breathing object, an abstract, an animal. Cutting loose from the self we are a primal, universal body, fulfilled with longing and permission; to experience the moment, as life itself, anew.
Idea, choreography and performance: Maya Matilda Carroll and Ornit Mark Eitan | sound and music: Roy Carroll | dramaturgical assistance: Maya Wienberg
Premiered at March Hare Festival 2018, Kelim Center
Supported by Kelim Center for Choreography and Mifal HaPayis (the Israel State Lottery)
Photo: Yair Meyuhas
Special Thanks to Anat Danieli, May Zarhy, Sharon Zuckerman Weiser, Danya Zemer
This year the March Hare Dance Festival is celebrating collaboration and cooperation in the art of dance. Fruitful dialogue and the joy of forging meaningful connections are at the heart of the festival – embodied in the pieces created collaboratively by artist and choreographers, in the choice of public urban spaces as performance venues, and in the various events and workshops open to the public.
The festival’s potential is in bringing people together and the resulting meeting points, manifested in artistic creation. These meeting points don’t belong to any of us, but come to life between us; between creators of a piece, between the audience and the artists, between the theater and public urban spaces, between exterior and interior, between two pieces presented one after another. What possibilities are discovered through these relations? What occurs when sincere dialogue and a shared presence take place? What kind of alchemy transpires through the meeting of people and art?
We invite you to experience the festival through the lens of movement in its various forms: the performer’s movement, the progress of the audience from one place to another, and the flow of thoughts and sensations within you while watching a piece. We welcome everyone, near and far, to join us, both those familiar with the world of dance as well as those yet to experience it.
This year, in line with the matriarchal spirit of the Kelim Center for Choreography, creator May Zarhy joined Anat Danieli in the artistic direction of the festival.
The March Hare Dance Festival will be held at two venues in the city of Bat-Yam; at the Kelim Center for Choreography and at the Ben Gurion school.
Over the course of two subsequent weekends, five new pieces developed at the Kelim Center for Choreography residency program will be presented, as well as works by artists from around the world.
You are all invited!
** Reading of ‘Limpopo’ |
Amit Bar Am | 15/3 >> 17:15 | Public Library | free entrance
** Opening night at Kelim courtyard 15/3 >> 20:30 (free entrance):
– Parallel Realities | Video work by Ran Slavin
Dj Michal Gefen
** The Light from Beneath Reaches by Julyen Hamilton, UK | 15/3 >> 21:00 | Kelim Center
After the show | Artist Talk: Body, Space, Improvisation | Anat Shamgar, Daniel Aschwenden and Julyen Hamilton.
** GOLDBERG 365 by Daniel Aschwanden (CH/AT) | 15/3 >> 16:00 | Outdoor performance – Kikar Hamatseva – Free entrance
** The Light from Beneath Reaches by Julyen Hamilton, UK | 16/3 >> 22:00 | Kelim Center
** GOLDBERG 365 by Daniel Aschwanden (CH/AT) | 17/3 >> 19:00 | Ben Gurion school: Ort Israel St 16
** After the performance: Protocoles Reading | Daniel Aschwanden (CH/AT) | Kelim courtyard
** DJ Michal Gefen | Party – 17/3 >> 22:00 | Kelim courtyard, Free entrance
** SHE STONE SEA by Ornit Mark Eitan & Maya M. Carrol (IL/DE) | 22/3 >> 20:00 |Kelim Center
After the show: Artist talk | On collaboration & in between spaces | Tami Lebovitz in conversation with Ornit Mark Eitan, Maya Matilda Carrol, Liza Baliasnaja and Sidney Barnes
** SHE STONE SEA by Ornit Mark Eitan & Maya M. Carrol (IL/DE) | 23/3 >> 20:00 | Kelim Center
** The Journey To Limpopo by Amit Bar Am Based on the book Limpopo | 24/3 >> 11:00 | Kelim Center
** FIGURES by Liza Baliasnaja and Sidney Barnes (LT/BE/UK) | 24/3 >> 19:00 | Outdoor performance | Kelim courtyard | Free entrance
** Closing event – ERES _ Lullabies for adult by Michal Oppenheim | 24/3 >> 22:00 | Kelim Center