ASIF Festival ֿ
for New Choreography
artistic director: Ayala Frenkel
For tickets press here
ASIF Festival for New Choreography is a preformative, experimental and process-driven space that invites the audience to come together and meet the fresh voices and first steps of emerging choreographers.
The artists chosen present promising and unique voices that are at the midst of the ripening of their choreographic artistic, aesthetic and performative language. In this specific moment, we choose to shelve the emphasis on the final product/piece, in order for them not to rush into choosing the familiar and comfortable ready-made performative mechanisms.
The festival will host seven premiers, sliding through and in between and inside-out of multidisciplinary performance, classical religious Baroque singing, live music, visual art, and gender-queer identity culture to dance pieces in which there is just the one moving body.
Artists from Communal groups working on the thread between art, education and community , side by side with artists dedicated to ‘the research’ and the interdisciplinary discourse .
The presented pieces explore, through the choreographic lens, content relevant to the Israeli concret present reality – the ability of the migrant Ethiopian body and voice to affect its surroundings; the interdependence of one, on its community; the collective memory of scorching political speeches and how they manifest in women’s bodies and voices; the longing for intimacy in the technological world and more.
Join us, in celebrating the new (Jewish) Year, with the up and coming choreographers of the Israeli Dance and performance community. Meeting face -to-face (or audience to stage) with the new generation that brings honest, non-compromising, exciting and refreshing winds to the dance field.
Ido Grinberg | Sleight of the Eyes
What is left in the body when all the screens, filters and masks have been removed?
How does the technology surrounding us continue to influence us when we put the screens aside, disconnect ourselves from the screens and reconnect with ourselves? What is the influence of technology on our bodies? Does the magic of meeting directly remain? What memory is left of touch in the current era? What memory is left on our hands from the screen? What kind of world is created in your own hands, and what can you do to make an influence?
A solo that examines the take-over of technology on our body in contrast to the longing of magical simplicity.
Sharon Valevski | Speechesֿ
I am looking for leaders, I am looking for female leaders. I am looking for them in the body, in the voice, in texts, and in myself. Speeches are whimsical materials, a performance, that creates emotion within us. I experiment with how movement can change the speech, empty it of its content and context. Texts that were said in a different time and touched the hearts of many, now serve as a soundtrack for the creative, living, feeling body – in the present moment.
Michal Grover Friedlander | Loss
Loss refers to the fading and disappearing of movement; movement that hardly leaves a trace. Even in our memories, movement cannot be retained; it is constantly lost to us; it repeatedly leaves us behind. The performance hovers between song, image, stillness and slownes.
Somohon Tegave | State of mind
Is it possible to move in the world from the chest and the heart?
Can it be used to influence the rest of the body, the culture, the world?
The artist tries to scrape, chafe and move from the chest, and still find within that movement the freedom to live.
To find the primal and raw breath, the inner voice.
to keep moving,
to dance softly and delicately.
Yalla! Merry Christmas | Ori Isahar
‘Yalla! Merry Christmas’ is a love letter. ‘Yalla! Merry Christmas’ is a love letter to life, to the live show, to the madness, to the senses. ‘Yalla! Merry Christmas’ is a farewell letter to two years ago, ‘Yalla! Merry Christmas’ is what it sounds like, ‘Yalla! Merry Christmas’ is the performance of indulgence, it’s a love letter to the body, to the streets, to the city.
Through the live show, the artist wishes to conceive a constellation-portrait of a self trying to assess his position in society whilst creating that same selfhood. The creator examines the performance of an unraveled and unstabled gender, cultural, performative and artistic identities. In the tension between the outside and the inside, between the home and the streets, in the parking lot, what is allowed? What is contained? How to get out? Will there be anywhere to return to? The creator brings with him to the stage inspirations from the ballroom, hip-hop, clubbing, visual theater and performance cultures, vogue femme movement language, and moves between dance and everyday movement, between self-performance and conduction.
Gili Ingels | What the day brings
Time passes, elapses, and progresses in one direction. It advances forward without the possibility of turning back. We are confronted with this truth in instances when permanent endings loom over us. These endings evoke pain, sorrow, and a search for meaning for the present time. The work manifests the emotional experience of dealing with loss, mourning, grief, separation, and continuity, in spite of the absence. By exploring the time things take, and the ways the body organizes itself when weighed under, the work exposes the fragility and the humanity of the living body.
Uri Glasbrg and Inbal Cohen-Or | Now everybody together
In the piece, three members of a cooperative commune, meet with the members of a musical trio (‘Tzuf/Zohar/Anbal’), to explore human interdependence. Deriving from the choice to share the intimate things in life (routine, home, money, work, creation and meaning) a question arises – when does our individuality get lost in the tangle of interpersonal relationships, and when is it created due to them.
We move together and separately – play, relocate ourselves between movement structures and states of uncertainty, bind and form connections between bodies and musical instruments, bring people together and separate.