A meeting of mothers - artists ✲ hosted by Merav Dagan and Danielle Gallia-Kind, in collaboration with Kelim
Thursday 30.11 ✲ 12:00 Zoom
✲
50 days have passed since our lives changed beyond recognition. The pain is unbearable, the future is shrouded in fog and the present is full of exclamation points and a mental and real arms race that shakes the heart and bones. We, artist-mothers are required to reformulate our positions, recognize the challenges and tasks that lie ahead of us and deal with the existential, day-to-day need to imagine a worthy future.

We feel that there is a need for a space that dissolves the separations between art, motherhood and reality, a space that recognizes maternal knowledge and its relevance to dealing with the current situation. We invite you to meet, share and listen to each other, from wherever you are and in the way you want to take part.

You are invited to distribute to artist mothers from the multitude of mediums.

✲
???? Ofir Ben Shimon

These days we want to create ripples of softened presence together, to enable a comforting meeting in an unbearably difficult reality. We will practice together and individually nourishing actions and movements, we will experience presence exercises centered on the body, and we will read together the text of the Indian philosopher Yadu Krishnamurti.

Men and women of dance and movement, performance artists, plastic art, philosophy, spirit and thought, you are invite you to a meeting that deals with body-consciousness in a healing and adjusted way.
There is a protected space in the place.

Meir Tati ~
Artist, curator and educator, eternal student of yoga and the dialogical way.
Member of the board of ׳Kelim' center for choreography.

The week when the war started, two study programs were supposed to open the year at Kelim: the two-year program for choreography directed by Tami Labovitz and 'Moving Into Action' - interdisciplinary lab for choreography with people of varied abilities
directed by Nataly Zukerman, in collaboration with Hapais.

Very quickly we decided that we would not stop, that we would continue listening.
As the weeks go by, we feel that it was the right decision, that we feel together closeness, sanity, a benevolent stay and fascinating learning.

In the last week, 'Moving Into Action' met Vertigo Power Of Balance to a professional meeting, in which Hai Cohen and Tali Wertheim talked about the development of the project and led an improvisation session in which the choreographers of the Hamama danced together with dancers with a variety of abilities.
It was an expansive, interesting and inspiring meeting and creativity.

Special thanks to Hai Cohen and Tali Wertheim for an ever-increasing collaboration between 'Kelim' and 'Balance Vertigo Power of Balance'. We are happy for the common path and look forward to what is to come.
The dancers from 'Votrigo': Shmuel Dvir Cohen and Amir Batura
—-
This is the second year that Kelim is leading 'Moving Into Action' Lab, a theoretical and practical study program dedicated to professional creation in dance and performance in collaboration with people with a variety of abilities.
This year the program is directed by Nataly Zukerman.

Participants of the 'Moving Into Action' Lab: Tzipi Nir, Sofia Kranz, Annabel Dvir, Lil Goren, Rona Soffer, Gilad Jerushalmi, Racheli Zohar, Sharon Valevski.

The connections between us ✲ Ecology and Dance

For several months we have been imagining, discussing, asking and writing and discussing the 2024 edition of ' Kelim Dance Festival'.
At first, when we started dreamin the festival, we decided that the festival would look at the themes of sustainability, ecology and permaculture and how they interact with current dance theories and practice . Our practice aims to lend [from permaculture], new ways of observation on the systems which we are already used to operate.

Like most of us, we also ask ourselves in these times - is this relavent now? should we stop? should I continue?
The answer we found is related to our basic longing to engage in these contents out of the aspiration to get closer, to share, to be exposed together, not to feel alone, and ultimately, to learn how to maintain shared systems that are more environmentally - politically - economically - socially - gender stable.
Better systems that enable continuity, that enable the future...
We realized together that especially in these times, it meets our needs as a community, more than ever.

We invite you to join the first learning session, on the 19th of November, on Zoom.

We realized that the process of researching and learning about the connections between dance and ecology is a process that more people from the dance community want to be a part of. Based on this, we decided to open these learning sessions as much as possible to the dance community, to those who are interested in joining, learning with us.

We would love to see you all!
Ayala Frankel and Uri Shafir, artistic directors of Kelim Festival 2024

✲

Permaculture is a holistic approach that sees the entire system (human and environmental) as one system. In the open meeting we will receive practical principles for creating a sustainable culture, we will renew our practices in the fields of dance through the prism of sustainability and ecology, we will map the ecosystem in which we create, we will think together how we can make each system a little more continuous and sustaining and in the end, hopefully, We will come out a little better for ourselves and our environment.

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 piece ‘I'll Be Right With You’ is a refinement of a relationship driven by the manipulations that one body exerts on the other body.
At the heart of the piece stands the following question: what occurs in the bodies and the distance between them as being part of a relationship based on both dependence and alienation.
It examines the gap between the seeking, lacking, furious body, and the giving, indifferent, alienated body. We linger on the immediacy in which systems of expectations, guilt, and frustration are formed.
It is a mixture of existing materials that unfold and rearranges in a constantly renewed structure. An examination of the human aspiration to mediate, apologize, reflect, compensate, promise and hope that next time it will be better.
I'll Be Right With You was developed as part of my studies in Kelim's choreography program, and this evening it will premier as a full-length piece.

A unique dance and installation performative event, in which members of ‘Augustine’ Collective, Or Avishy and Ayelet Yekutiel are creating in collaboration with Michal Dan, Roni Marsland, Keren Ben Altabet, Faye Shapiro and you.

MY PIECE is an ever evolving and adapting dance performance and live installation. First installed in Aarhus as part of the collective’s residency in ‘Performing Arts Platform’. In this project, Augustine invites local artists from various fields as well as the audience members to join her practice, watch and discuss parts of the piece, the topics it relates to and their expression/ manifestation in the work. This process gives rise to a unique and specific event, composed of an updating scour, the event’s participants and questions around the notions of Ownership & Authorship. Where from springs the pleasure/need of owning things? How does something becomes mine? Who owns an art piece? Who is the author of my experience? Such questions are forming and transforming this international expanding piece.

Please bring an object you own, and are willing to give away to the creation of this specific performance.

About ‘Augustine’ Collective
Clea Onori, Ayelet Yekutiel, Marie Andersson, Or Avishy and Birgitte Lundtoft, started working together as a collective in 2013, in Brussels. Since, they meet in full constellation, once a year (Mainly in Scandinavia and Belgium) for an ongoing and updating process of mutual learning, meetings with the local community where they are hosted, and sharing and developing their collaborative creations. In between these annual meetings, they meet in smaller constellations, to perform and share projects by Augustine locally, wherever they are present.

End of the Wall is a dance piece which demonstrates two groups of dancers from two different countries - Israel and India- searching for the best way to communicate and work together despite mental, cultural and physical barriers.
Together, we choose to "peek" into each other's lives as well as the depth of each other’s culture, by diving into the core of both Israel and India which lies in the streets, politics, community and more.
The usage of the Skype technology - as the first tool of breaking the existing barriers- helps in creating the relationship between the performers. That, eventually, brings up similarities between artists from different backgrounds, different traditional countries, religions, communities and minorities.

Transparency
" I once hastily remarked, 'Death is God, change - the prophet.'Now, already calmer, I say, 'Change is God, Death – the prophet.”
Yahuda Amichai, "Open Close Open"
Choreography: Noa Shiloh
Music: Nicolas Jaar, "Baba Vanga", Jozef Van Wissem, "Eidetic Reduction", Yoko Ono, "Is Winter Here to Stay?"

Arnica
Short dance interludes taken from the piece "Arnica".
Choreography: Noa Dar
Rehearsal Director: Noa Shiloh
Music: Fredrich Handel

Esclava
In the dark of the night, demons dance.
An illusion of courtship.
A dream, captive in wandering between fear and love, between the vanished and the familiar.
Choreography: Doron Raz

Migration
Tectonic plates are enormous areas in size that spread under the continents and oceans. During eons these plates move extremely slowly and cause the migration of the continents. Earthquakes and volcanic eruptions can be caused by the activity at the borders of these plates.
Choreography: Noa Shiloh
Music: Dmitri Shostakovich – String Quartet No. 8

100 Shades of Red
This is an attempt to use a woman's monthly menstruation as a choreographic layout or stage providing a field of practice, a field of cyclic destruction. It is the desire to be attuned to the body of a woman as a site of knowledge from which new wisdom can be drawn. To see menstruation as a platform through which one can view the world and act upon it in the hope of gaining a better future.
Choreography: Meirav Dagan

Gravity is one of the most basic and powerful forces in nature.
It acts upon us and upon every physical object in the same way. This force defines the language we use in everyday life: Up-down, light-heavy, high art- low art, life- death.
Gravity doesn’t care if we land or crash, It will remain the same. We take a moment to play with it. We become pure mass and try to surrender to its blind will.

“Separation Pangs”

“I will make most severe Your pangs in childbearing; In pain shall you bear children..”

Bereshit 3:16

A duet for a mother and fetus, that explores the first breaking point we experience in our lives. The understanding that our unity as a mother and a fetus does not exist anymore. The oneness we used to have with another human being will never come back.We are one - alone - separately.

“EARTH (female)”

“By the sweat of your brow Shall you get bread to eat, Until you return to the ground”

Bereshit 3:19

A duet for men inspired by images of Jewish pioneers in Palestine at the beginning of the 20th century. The piece explores the price we pay and the gain we get by devoting ourselves into a specific "Male Image".

Rising by Shira Eviatar
Rising is an encounter of two bodies of knowledge from two different cultures: Yemenite and Moroccan. We examine the movements etched in our body, sourced in our tradition of celebration, movements that have been passed down from generation to generation. The dance of celebration is displaced out of its context and set on stage, allowing us to compare and contrast the similarities and differences between the two traditions. Through the action of "re-wearing" these movements we hope to raise feelings, sensations and mindsets belonging to these cultures.
Rising premiered at the Curtain Up Festival 2016

Choreography: Shira Eviatar | Dancers: Shira Eviatar, Anat Amrani
Artistic Directors: Itzik Giuli | Music: Aharon Amram - "Haya Mei Sana'a"
Sfataim- "Ahlan Wa Sahlan" | Rehearsal Director: May Zarhy
Yemenite Dance Advice: Evyatar Said | Advice: Noa Mark Ofer
The work has been created in a residency program at Kelim – Center for Choreography and supported by Yasmeen Godder studio as part of a guest artist program and by The Yehoshua Rabinovich Foundation for the Arts.

Eviatar/Said by Shira Eviatar with Evyatar Said

Eviatar/Said by Shira Eviatar is a solo piece for Evyatar Said which draws a personal cultural landscape from the Yemenite Tradition: movement, dances, rhythms, gestures, values, ways of thinking and communication that together compose a language that is practiced as ones heritage. By entering the public space, this language becomes recognized, identified as "other". On stage, Said migrates into his home; he deconstructs and rewrites his body memories as he celebrates the possibility of establishing an independent body in the present.

Choreography: Shira Eviatar | Dancer and creator: Evyatar Said | Artistic Director: Yasmeen Godder
The work has been created at a residency at Kelim center, Tights- Alliance of Dance
and Thought, SEAD, Austria and supported by the Mifal Hapais.

REVERT TO MANUAL is a performance/lecture/lesson about how listening to our bodies can free us from physical and mental habits. For over 15 years Sigal Bergman has been creating dances, teaching improvisation and the Alexander Technique. In REVERT TO MANUAL she dissolves the borders between those fields letting the alchemy between them create new possibilities. How can the magic of touch of an Alexander technique session be transferred into a performance set up? How can dance techniques heal and transform our thinking about our health in general? Thought changes movement, movement changes the thinker. The body changes thought and the thought changes the mover.

Body Roots by and with Shira Eviatar
Body Roots is a solo performance examining images and representations of my family and how they are carried in my body and mind. The work explores an inter subjective approach that perceives each individual as constructed from one's context and from the relationships

Rising is an encounter of two bodies of knowledge from two different cultures: Yemenite and Moroccan. The work is a duet with Anat Amrani where we examine the movements etched in our body, sourced in our tradition of celebration, movements that have been passed down from generation to generation. The dance of celebration is displaced out of its context and set on stage, striped from its ethnic aesthetics, allowing us to compare and contrast the similarities and differences between the two traditions. Through the action of "re-wearing" these movements we hope to raise feelings, sensations and mindsets belonging to these cultures.

First piece: Figure | Noa Atar
Figure is a solo that was born out of the will to free the feminine body from well-known meanings and cultural expectations and break the familiar order.
The piece premiered in Nifgashot festival 2018.
Performer: Layil Goren, Music: Meredith Monk-Conversation, Costume: Pants-Mizo by Inbal Ben-Zaken , Blouse and styling: Mor Weismen.

Second piece: Forms of Us | Shani Bar-Dimri
A hug is a trivial, everyday action/position. I hug and am hugged every day. In the duet we explore the primal need to be carried. Exploring the acts of holding and being held (physically, through space and listening). We use ten positions as our vocabulary. Transforming together, allowing the positions to awake fantasy, creating relationship. we are dedicated to caring and carrying.
Performers: Noam deutsch and Shani Bar Dimri , Original music: Amir Sini Weisglass
Special thanks to Helen Burghardt for the sharing and generosity of the creative process.

Third piece: Slice | Sofia Krantz
Memories of a woman at the butcher.
The piece premiered in "From Jaffa to Agripas" festival 2018.
Music: Asaf James Bar-on, accessories: Aufshnitt berlin:

Fourth piece: Look at that! | Lital Ben-horin
Look at That is about our daily life, about the constant need to capture every moment and advertise it as widely as possible, often distorting reality to make ourselves look better. About the place in which perpetuation becomes the point and the experience the aside.
Premiere- Intimadance 2017, Tmuna Theater.
Performing - Maayan Reiter & Lital Ben-Horin, Set design - Zohar Shoef, Music - Yuval Shenhar: Theme from a summer place, Percy Faith version & C2C - Happy feat. Derek Martin, Official Video.

The piece aims to suggest a complex and wide interpretation to the term ‘womanhood’. It is looking for a multidimensional representation of women's as individuals who differ from one another on stage. And at the same time, we wish to create a solid community on stage.

Kelim Choreography Center in Bat Yam is pleased to host researcher and curator, Professor Andre Lepecki, Chair of the Department of Performance Studies at New York University (NYU). Supported by ARTIS (www.artis.art), the Center for Contemporary Art (CCA) Tel Aviv, and Outset Bialik Residency Israel.

Professor Andre Lepecki is the editor of several dance and performance theory anthologies, the author of the book “Exhausting Dance: Performance and the Politics of Movement” (translated to Hebrew in 2013) and of “Singularities: Dance in the Age of Performance” (2016). He is a curator of dance and performance events, among them the revived exhibition and performance “18 Happenings in 6 Parts” by Alan Kaprow, for which he received a special prize from the International Association of Critics United States.

Kelim Choreography Center is happy to host Lepecki, who will lead, for the first time in Israel, two seminars for choreographers, researchers, and curators, as well as a lecture for the general public. This is a rare opportunity to have an in-depth meeting with one of the leading world voices in performance, and specifically dance.

Open lecture:
events, singularities, persistence: dance and the age of performance

In this talk, I will address some recent traits in contemporary dance that approximate it to a certain tradition of performance art. By closely attending to the works of several contemporary artists operating in the singular zone between choreography, performance art, body art, video, and exhibition, I will address how three recent strategies in choreography have recast dance's relation with aesthetic and political imaginations. The strategies I will be focusing on in this talk will be: persistence, thingness, and darkness. The artists in focus will include: Trajal Harrell, Julie Tolentino, Ron Athey, Mette Edvardsen, and Ralph Lemon.

Thursday 21st February, 20:00, at Kelim Choreography Center

<<< Eviatar/Said by Shira Eviatar, a solo piece for Evyatar Said >>>

In her new work, a solo for Evyatar Said, Shira Eviatar continues to research the way cultural knowledge is embodied in the body. The work draws a personal cultural landscape from the Yemenite tradition: movement, dances, rhythms, gestures, values, ways of thinking and communication that together compose a language that is practiced as ones heritage. By entering the public space, this language becomes recognized, identified as "other". On stage, Said migrates into his home; he deconstructs and rewrites his body memories, his bodies of knowledge, emotions and sensations as he celebrates the possibility of establishing an independent body in the present.

Choreography: Shira Eviatar | Dancer and creator: Evyatar Said | Artistic director: Yasmeen Godder | The work premiered at "Between Heaven and Earth" festival. The work was created in three different residencies at Kelim, Tights and SEAD . The work is supported by the Mifal Hapais.

<<< Body Roots by and with Shira Eviatar >>>

Body Roots is a solo performance examining images and representations of my family and how they are carried in my body and mind. The work explores an inter subjective approach that perceives each individual as constructed from one's context and from the relationships
of each individual with the others

Music: Reflections of my life by the Marmalades

How does space construct the active body in it?
As one who moved from the city to the village, from the beach to the mountain, from the bubble to the borderline, from singlehood to motherhood – I wish to discover how does space influence me and how does it make me who I am.
What is in between geography, demography topography and the private body?
Is one indeed nothing but "the imprint of his native landscape"? As Shaul Tchernichovsky's poem suggests.

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

Like a sex machine / Or Marin

Everyone is an enemy. Everyone is being loved. A Loving enemy, enemies as lovers, shooting words, kissing bombs
Presenting their bodies as an exhibition of unique and elaborative weapons. Bodies that are working together and becoming an extraordinary machine gun.
Body as an occupied territory, a fire zone, a tool of war, a tool of love.
That’s how sex should be – Like a sex machine.

* The piece premiered as part of the Intimadance 2018 Festival.
*The work was made possible thanks to the support of Mifal Hapayis, the Director of Culture, the Choreographers Association , the RE-SEARCH Center and HABOOSTAN Arts School.

EARTH (female) / Gilad Jerusalmy

The piece was premiered as part of the "2017 Dance Arena Festival" of 'Hazira' -The Interdisciplinary Arena, Jerusalem.
A duet for men inspired by images of Jewish pioneers in Palestine at the beginning of the 20th century. The piece explores the price we pay and the gain we get by devoting ourselves into a specific "Male Image".

Ana Vagana is a fabric embodied by creation, femininity, motherhood, and blood. Her body speaks through texts by Hélène Cixous and Luce Irigaray, paints with the inspiration of Judy Chicago, and recites Dominique Cristina's “Period Poem”. Ana Vagana exchanges symmetries in the body moving on the horizontal. She moves close to the ground and offers possibilities to be born, to renew, to be ancient, biblical, to be nature, to be a landscape. To give life. To give birth. To bleed. To call all that is repressed and waiting to return with all its glory into a matriarchal world of flesh, bones, and blood cells. Remembering the body being inside a body, being two, having multiple lives, being inseparable, and being separable, and giving more life, and more.

Sherry is you.
You are her.
Do not forget or forgo anything about you or her.
Things are good and things are bad.
You are good and you are bad.
She is only good. Be better.

17:00 Non Troppo- a show for children + parents
Non Troppo invites the audience to sit in the heart of the storm, in snow and wind.

Within the storm the world is not so clear-cut. It changes and is reshaped over and over again. The blurry landscape hosts a choreography of oppositions that exist side by side: chaos and order, full and empty, here and there, she and I, you and us.
Through experience and the possibility to blunder, we learn to live between the polarities. We use the storm and the shifting weather to reverse and invent, observe and move, become enchanted, and allow the presence of moods.

21:00 O.S.L.O- a dance piece.
O.S.L.O is a dance piece that takes place in the snow and in the storm.
It is a performance of chronicles, movements and sounds that touches upon the historical and political narrative of the Israeli-Palestinian conflict.
The partition of the performance follows the chronology of the Oslo Peace Accords as a choreographic plan, as a palimpsest. Alongside the political narrative, the dance condenses a large vocabulary of parallel movements, repetitions, quotes, big and small chorographic events. Set in a weather installation that is extremely concrete and painfully abstract, O.S.L.O takes shape in the passing winds of the live event - of what unfolds.
As an epic disillusionment, O.S.L.O strives to become a contemporary folk-dance that commemorates the passing of time, historical consciousness, and the potential for movement.

17:00 Non Troppo- a show for children + parents
Non Troppo invites the audience to sit in the heart of the storm, in snow and wind.

Within the storm the world is not so clear-cut. It changes and is reshaped over and over again. The blurry landscape hosts a choreography of oppositions that exist side by side: chaos and order, full and empty, here and there, she and I, you and us.
Through experience and the possibility to blunder, we learn to live between the polarities. We use the storm and the shifting weather to reverse and invent, observe and move, become enchanted, and allow the presence of moods.

21:00 O.S.L.O- a dance piece.
O.S.L.O is a dance piece that takes place in the snow and in the storm.
It is a performance of chronicles, movements and sounds that touches upon the historical and political narrative of the Israeli-Palestinian conflict.
The partition of the performance follows the chronology of the Oslo Peace Accords as a choreographic plan, as a palimpsest. Alongside the political narrative, the dance condenses a large vocabulary of parallel movements, repetitions, quotes, big and small chorographic events. Set in a weather installation that is extremely concrete and painfully abstract, O.S.L.O takes shape in the passing winds of the live event - of what unfolds.
As an epic disillusionment, O.S.L.O strives to become a contemporary folk-dance that commemorates the passing of time, historical consciousness, and the potential for movement.

During the evening we will present 4 pieces (each approx. 15 minutes long): ‘How to Silence the Sea in Three Simple Steps’ by Yael Sofer Samson, ‘Drive’ by Haddas Eshel, ‘Fitna’ by Shani Bar Dimri, ‘Running Out Of’, by Deena Fraiman Meir. The pieces were created in the framework of the choreography program at Kelim head by Sharon Zuckerman Weiser.

As with femininity that resist defining itself through to masculinity,
PANGEA wants to define itself from itself.

We are many becoming one, we are one becoming many.
The femininity we experience is wild, amorphous and associative
Always being created.

We cannot hold what exists.
We wish to go lost without being lost.
We desire to get strong and to give up both at the same time.

An attempt to redeem the perception of falling. To deny the tragic potential of falling and reimagine it as an action with poetic, aesthetic and humorous qualities.
We invite falling, evoke it in others and create semi-dangerous games. We fall from a backflip, from the head, from the hands. We fake a fall and fail at it.
We expose our deepest and most ridiculous qualities. We dance a fall.

Rising by Shira Eviatar
Rising is an encounter of two bodies of knowledge from two different cultures: Yemenite and Moroccan. We examine the movements etched in our body, sourced in our tradition of celebration, movements that have been passed down from generation to generation. The dance of celebration is displaced out of its context and set on stage, allowing us to compare and contrast the similarities and differences between the two traditions. Through the action of "re-wearing" these movements we hope to raise feelings, sensations and mindsets belonging to these cultures.
Rising premiered at the Curtain Up Festival 2016

Choreography: Shira Eviatar | Dancers: Shira Eviatar, Anat Amrani
Artistic Directors: Itzik Giuli | Music: Aharon Amram - "Haya Mei Sana'a"
Sfataim- "Ahlan Wa Sahlan" | Rehearsal Director: May Zarhy
Yemenite Dance Advice: Evyatar Said | Advice: Noa Mark Ofer
The work has been created in a residency program at Kelim – Center for Choreography and supported by Yasmeen Godder studio as part of a guest artist program and by The Yehoshua Rabinovich Foundation for the Arts.

Eviatar/Said by Shira Eviatar with Evyatar Said

Eviatar/Said by Shira Eviatar is a solo piece for Evyatar Said which draws a personal cultural landscape from the Yemenite Tradition: movement, dances, rhythms, gestures, values, ways of thinking and communication that together compose a language that is practiced as ones heritage. By entering the public space, this language becomes recognized, identified as "other". On stage, Said migrates into his home; he deconstructs and rewrites his body memories as he celebrates the possibility of establishing an independent body in the present.

Choreography: Shira Eviatar | Dancer and creator: Evyatar Said | Artistic Director: Yasmeen Godder
The work has been created at a residency at Kelim center, Tights- Alliance of Dance
and Thought, SEAD, Austria and supported by the Mifal Hapais.

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

a solo piece for Evyatar Said which draws a personal
cultural landscape from the Yemenite Tradition: movement, dances, rhythms,
gestures, values, ways of thinking and communication that together compose a
language that is practiced as ones heritage. By entering the public space, this
language becomes recognized, identified as "other". On stage, Said migrates into his
home; he deconstructs and rewrites his body memories.

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

skin is an interactive dance performance that integrates dance, video, sound and interactive technologies. Video and sound interact with the movement of dancers through motion sensors they are equipped with. The dancers generate images and sound, as an echo of their movements and their finer sensations. On the video, the dance is staged in a distant house in the south of France. A place of family stories and experiences where the dancers reincarnate the dance with a poetic detachment, just at the limit of strangeness. The interactive device, like a "second skin", transforms the touch, the pulsation, the force of the movement into video and sound that reveals and emphasizes the finer sensations that lie beneath the skin. The viewer thus accesses the intimacy of the dancers, in this house, where they can imagine that the dancers lived, slept, dreamt and played.

Non Troppo- a show for children + parents
Non Troppo invites the audience to sit in the heart of the storm, in snow and wind.

Within the storm the world is not so clear-cut. It changes and is reshaped over and over again. The blurry landscape hosts a choreography of oppositions that exist side by side: chaos and order, full and empty, here and there, she and I, you and us.
Through experience and the possibility to blunder, we learn to live between the polarities. We use the storm and the shifting weather to reverse and invent, observe and move, become enchanted, and allow the presence of moods.

O.S.L.O- a dance piece.
O.S.L.O is a dance piece that takes place in the snow and in the storm.
It is a performance of chronicles, movements and sounds that touches upon the historical and political narrative of the Israeli-Palestinian conflict.
The partition of the performance follows the chronology of the Oslo Peace Accords as a choreographic plan, as a palimpsest. Alongside the political narrative, the dance condenses a large vocabulary of parallel movements, repetitions, quotes, big and small chorographic events. Set in a weather installation that is extremely concrete and painfully abstract, O.S.L.O takes shape in the passing winds of the live event - of what unfolds.
As an epic disillusionment, O.S.L.O strives to become a contemporary folk-dance that commemorates the passing of time, historical consciousness, and the potential for movement.

17:00 Non Troppo
21:00 O.S.L.O- a dance piece.

Non Troppo- a show for children + parents
Non Troppo invites the audience to sit in the heart of the storm, in snow and wind.

Within the storm the world is not so clear-cut. It changes and is reshaped over and over again. The blurry landscape hosts a choreography of oppositions that exist side by side: chaos and order, full and empty, here and there, she and I, you and us.
Through experience and the possibility to blunder, we learn to live between the polarities. We use the storm and the shifting weather to reverse and invent, observe and move, become enchanted, and allow the presence of moods.

O.S.L.O- a dance piece.
O.S.L.O is a dance piece that takes place in the snow and in the storm.
It is a performance of chronicles, movements and sounds that touches upon the historical and political narrative of the Israeli-Palestinian conflict.
The partition of the performance follows the chronology of the Oslo Peace Accords as a choreographic plan, as a palimpsest. Alongside the political narrative, the dance condenses a large vocabulary of parallel movements, repetitions, quotes, big and small chorographic events. Set in a weather installation that is extremely concrete and painfully abstract, O.S.L.O takes shape in the passing winds of the live event - of what unfolds.
As an epic disillusionment, O.S.L.O strives to become a contemporary folk-dance that commemorates the passing of time, historical consciousness, and the potential for movement.

17:00 Non Troppo
21:00 O.S.L.O- a dance piece.

The work of Tamar Lamm and David Kern is formed in the space between dance, performance and musical concert, while adhering to an organizing principle that leaves it both unraveled and structured at the same time. In the stage space, there are scattered objects, these, like the movement, have a two-way relationship with the doubting fantastic humorous narrative and the perplexity that spreads throughout the work. A score of partnership, love, longing and separation is formed on the seam between the perspective of emotional consciousness and the physical experience of the body.

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

The work of Tamar Lamm and David Kern is formed in the space between dance, performance and musical concert, while adhering to an organizing principle that leaves it both unraveled and structured at the same time. In the stage space, there are scattered objects, these, like the movement, have a two-way relationship with the doubting fantastic humorous narrative and the perplexity that spreads throughout the work. A score of partnership, love, longing and separation is formed on the seam between the perspective of emotional consciousness and the physical experience of the body.

How do you define yourself?
A Leader
Follower
One who avoids
One who resist
This is a dance performance for six people, dancers which challenge and observe their actions within relationships.
We are all present on the line between control and giving- in, between taking responsibility and the desire to choose and lead while longing to surrender, soften and being held.
The definition of the power balance in the relationships among the dancers functions as a model of human respond to force within wider circles of society. It reflects the individual nature of people and makes present differences and similarities.
In the dance piece the physical state reflects the mental state. Each state is characterized by a deferent muscle tone which creates the fascinating shades of physicality emerging in small body gestures which expresses the emotional condition.
The imagery field of the piece includes: intimacy, war, loss, caring, boundaries, sexuality, herd behavior and individuality.

Ana Vagana is a fabric embodied by creation, femininity, motherhood, and blood. Her body speaks through texts by Hélène Cixous and Luce Irigaray, paints with the inspiration of Judy Chicago, and recites Dominique Cristina's “Period Poem”. Ana Vagana exchanges symmetries in the body moving on the horizontal. She moves close to the ground and offers possibilities to be born, to renew, to be ancient, biblical, to be nature, to be a landscape. To give life. To give birth. To bleed. To call all that is repressed and waiting to return with all its glory into a matriarchal world of flesh, bones, and blood cells. Remembering the body being inside a body, being two, having multiple lives, being inseparable, and being separable, and giving more life, and more.

just as you can’t step in the same river twice, your memories are changed by the act of recalling them, every memory we have, is colored by the times we’ve recollected it before and every time you take a memory off the shelf in your brain, you put it back just a tiny bit different.

Rising is an encounter of two bodies of knowledge from two different cultures: Yemenite and Moroccan. A duet where Shira Eviatar and Anat Amrani examine the movements etched in their body, sourced in the tradition of celebration of Arabic Jews. The dance of celebration is displaced out of its context and set on stage, striped from its ethnic aesthetics, enabling to compare and contrast the similarities and differences between the two traditions.
Rising premiered at the Curtain Up Festival 2016
Choreography: Shira Eviatar
Dancers: Shira Eviatar, Anat Amrani
Artistic Directors: Itzik Giuli
Music: Aharon Amram - "Haya Mei Sana'a"
Sfataim- "Ahlan Wa Sahlan"
Rehearsal Director: May Zarhy
Yemenite Dance Advice: Evyatar Said
Advice: Noa Mark Ofer
The work has been created in a residency program at Kelim – Center for Choreography and supported by Yasmeen Godder studio as part of a guest artist program and by The Yehoshua Rabinovich Foundation for the Arts.

Eviatar/Said by Shira Eviatar is a solo piece for Evyatar Said which draws a personal cultural landscape from the Yemenite Tradition: movement, dances, rhythms, gestures, values, ways of thinking and communication that together compose a language that is practiced as ones heritage. By entering the public space, this language becomes recognized, identified as "other". On stage, Said migrates into his home; he deconstructs and rewrites his body memories.
Choreography: Shira Eviatar
Dancer and creator: Evyatar Said
Artistic Director: Yasmeen Godder
The work has been created at a residency at Kelim center, Tights- Alliance of Dance and Thought, SEAD, Austria and supported by the Mifal Hapais.

BONE by Noa Shiloh
"It is said that in the beginning a god decided to form a man out of clay, which he had created beforehand, afterwards, so that the man would have a soul and the breath of life, he blew into his nostriles."
Jose Saramago, The Cave
I emerge from the bowels of the earth, not from the rib of a man, I struggle for the ownership of this body even though it is only lent to me in this life.
Created and performed by Noa Shiloh // Objects designed by Sarah Kaminaker
in collaberation with Mor Nardimon and Noa Shiloh.

WANNABE by Shani Tamari Matan
Hands on the head are a miss in distressed and David Bowie.
That's how my body declares. At least for this moment.
Personal confession: I'm not an agonizing artist.
Created And performed by Shani Tamari Matan // Music: Tal Tamari & Maor Shwartsberg
Design: Ariel Cohen // Artistic guidance: Shlomit fundaminsky

LYING by Nitsan Margaliot
."... a question only kids ask themselves for real, and then we sick people ask it again. Is it ok to lie ? Is it okay to be lied to ? A healthy grown-up won't even give it a thought, the answers seems obvious right ? We learn to tell lies, the same way we talk, they teach us how to talk and how to be quiet."
a journey, two characters, attempting inner conversation, under layers in the depth
The work is inspired from the book “Talking to Ourselves” by Andrés Neuman.
Created and performed by Nitsan Margaliot // Dancer and collaborator Joan Vercoutere // Music by Orgad Marciano // Artistic adviser Anna Röthlisberger // Objects designed by Daniel and Angle Ben Mayor // The works was created in a residency at Adama Center, Sderot.

The Choreographers Niv Sheinfeld & Oren Laor, partners in life and creation, will assemble a retrospective on their three duets: "Pre-Martha" (2008), "Two Room Apartment" (2012) that is based on Liat Dror & Nir Ben Gal's original work, and the new duet that is in process, towards a premiere in the 2018 edition of the Israel Festival. In the event, Sheinfeld & Laor will present excerpts from the three works.

This is an invitation to a window-dream-time in which the singing-lullaby-sub-sensory-for grownups will wrap in a ceremony atmosphere and a simple-humanity. The show is an invitation to a space on the threshold of hipno-musical atmosphere the relationship between the external and the internal world. The point of departure of the song cycle roams between the end-of-the-day blessing or end-of-life and the ceremony of voice and intimacy and everyday humanity that asks to take the listener to a zone of dreaming awake.

------------------

Michal Oppenheim, A vocal artist, composer, and creator - works in a wide performative field focusing on the exploration of the human voice. Michal is the co-founder of 'Givol Choir' - an experimental vocal ensemble performing modern classical repertoire alongside original pieces. In the last three years, Michal has been working with Choreographer May Zarhi on projects expanding the research of body, voice, and space. Together they produce ‘Yes’ (Tel Aviv Museum 2015) and ‘the VOICES’ (Inbal theatre 2017). These days Michal is working on her second album ‘Shoshana’ which is based on her show ‘Eres’ premiered at the Israel-Festival. Besides her artistic work, Michal teaches ‘the Uncovering the Voice’ at the Theatre department at Tel Aviv University.

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

There are some two-dimensional figures, also known as ambiguous figures, that when viewed, can give rise to experiences that offer different phenomenal characters, these differences can be seen in sharp or even distinct ways. The switch from seeing an image in one way to seeing it in another, can happen suddenly or even gradually, due to certain saccadic features of our visual perception, this is known as the Gestalt shift. Although one can have a certain autonomy over the Gestalt switching phenomenon, it often happens without your control, unrealised and perplexing. What is happening when one undergoes the Gestalt switch is that one’s visual, intellectual or even emotional knowledge of an experience changes. One has experiences of several different phenomenal characters one after the other. As a result, it evokes introspective thinking, a consideration of ones interior state in relation to the exterior input. Figures invites the spectator to focus on ones own trajectory of thought stimulated by a cascade of physical landcapes.

Outdoor performance | Kelim courtyard | Free entrance

--------------------

Liza Baliasnaja is a dance artist based in Brussels, born in Lithuania. After graduating from P.A.R.T.S in 2016, Liza has been involved as a dancer in the performances by Mårten Spångberg and Eszter Salamon. Meanwhile she is making her own work betweeen Belgium and Lithuania.

Sidney Barnes in a dance and music artist from London. He graduated P.A.R.T.S in 2016. Ever since he has been composing music, working in the field of print making as well as choreography. As a performer, Sidney is involved in the works by Eszter Salamon and Mårten Spångberg.

For this creation, Cecilia worked on a Babylon library of dance and emotions. This library is composed of a diverse repertory complete with ancestral, historical and current dances.
The center of Cecilia’s practice focuses on the study of different body constructions and dance cultures. She creates a cadaver exquis; full of imagery, historical references, contemporary and folk dances that intertwine with recorded music and live sound.
Sound of the Trap created in Salzburg, nourishes the spiritual body through Jamaican dancehall, Argentinian Cumbia, Bolivian dance of the wind, Hungarian and Tirolian folk dance, and a choreography created in response to the industrial revolution between the two world wars. Sound of the Trap also incorporates music such as Mozart symphony, a contemporary recreation of the Sound of Music musical, Afro Trap and Cumbia.
Before studying at SEAD (Salzburg Experimental Academy of Dance) in 2002-2003, Cecilia performed several theatre scenes and monologues written by Thomas Bernhard in Buenos Aires. Today she reflects in this work on the apocalyptic discourse of the characters and rewritings of the text based on Thomas Bernhard’s autobiographic series The origin, The gel, The cave, The child and In the heights.

-----------------------

BODHI PROJECT Dance Company was founded in 2008 and is since then guided by the artistic visionary Susan Quinn, the founder and director of SEAD – Salzburg Experimental Academy of Dance in Austria.
The varied repertoire that showcases the artistic and technical excellence of the dancers features a complex movement repertoire, demanding theatrical elements, vocal skills and a strong stage presence.
BODHI PROJECT is a showcase for new choreographic voices in the international contemporary dance scene. The choreographers are specifically selected for their varied approaches to choreography. The repertory is stylistically diversified and tours throughout Europe and internationally.

Cecilia Bengolea (Argentina) is a choreographer and dancer born in Buenos Aires and based in Paris. She studied anthropological Dance and Art History at the University of Buenos Aires, and followed the Ex.e.r.ce choreographic program run by Mathilde Monnier in 2004. Cecilia has danced and choreographed with Joao Fiadeiro, Claudia Triozzi, Marc Tompkins, Alain Buffard, Mathilde Monnier, Trajal Harrel, Marlene Monteiro Freitas, Gintersdorfer/Klaßen, amongst others. Since 2005, a steady dialogue between Cecilia Bengolea and François Chaignaud has given rise to miscellaneous works which are presented world-wide in dance venues and international festivals, in Europe, Japan, Korea, Brazil, U.S.A. In 2009, they won the Paris critique choreographic revelation award.

For this creation, Cecilia worked on a Babylon library of dance and emotions. This library is composed of a diverse repertory complete with ancestral, historical and current dances.
The center of Cecilia’s practice focuses on the study of different body constructions and dance cultures. She creates a cadaver exquis; full of imagery, historical references, contemporary and folk dances that intertwine with recorded music and live sound.
Sound of the Trap created in Salzburg, nourishes the spiritual body through Jamaican dancehall, Argentinian Cumbia, Bolivian dance of the wind, Hungarian and Tirolian folk dance, and a choreography created in response to the industrial revolution between the two world wars. Sound of the Trap also incorporates music such as Mozart symphony, a contemporary recreation of the Sound of Music musical, Afro Trap and Cumbia.
Before studying at SEAD (Salzburg Experimental Academy of Dance) in 2002-2003, Cecilia performed several theatre scenes and monologues written by Thomas Bernhard in Buenos Aires. Today she reflects in this work on the apocalyptic discourse of the characters and rewritings of the text based on Thomas Bernhard’s autobiographic series The origin, The gel, The cave, The child and In the heights.

-----------------------

BODHI PROJECT Dance Company was founded in 2008 and is since then guided by the artistic visionary Susan Quinn, the founder and director of SEAD – Salzburg Experimental Academy of Dance in Austria.
The varied repertoire that showcases the artistic and technical excellence of the dancers features a complex movement repertoire, demanding theatrical elements, vocal skills and a strong stage presence.
BODHI PROJECT is a showcase for new choreographic voices in the international contemporary dance scene. The choreographers are specifically selected for their varied approaches to choreography. The repertory is stylistically diversified and tours throughout Europe and internationally.

Cecilia Bengolea (Argentina) is a choreographer and dancer born in Buenos Aires and based in Paris. She studied anthropological Dance and Art History at the University of Buenos Aires, and followed the Ex.e.r.ce choreographic program run by Mathilde Monnier in 2004. Cecilia has danced and choreographed with Joao Fiadeiro, Claudia Triozzi, Marc Tompkins, Alain Buffard, Mathilde Monnier, Trajal Harrel, Marlene Monteiro Freitas, Gintersdorfer/Klaßen, amongst others. Since 2005, a steady dialogue between Cecilia Bengolea and François Chaignaud has given rise to miscellaneous works which are presented world-wide in dance venues and international festivals, in Europe, Japan, Korea, Brazil, U.S.A. In 2009, they won the Paris critique choreographic revelation award.

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.

------------

Maya Matilda Carroll is a choreographer, dancer, teacher, based in Berlin since 2004. Created over 30 works within collaborative projects in Europe and worldwide. Leads classes and workshops, extensively developing her teaching methods alongside her artistic work. The Instrument was formed in 2011 with her partner, composer / musician Roy Carroll. Maya's work is anchored in the tangible and imagined; drawn from and towards the body's memory, social roots and myth, humans and their environment.

Ornit Mark Eitan Born in Israel (1975). Works as a freelance dancer since 1999. Holds a B.A in Dance and an M.A in Cinema and has a rich teaching experience in composition, improvisation, dance history and video dance. In recent years she has been creating in the fields of dance and cinema, sometimes integrating the two media in her work, while constantly searching for the right balance between creativity, teaching and motherhood.

Roy Carroll is a musician and composer, based in Berlin. His work encompasses improvisation, composition, music / choreographic collaboration and practical / experimental research, with porous borders in between. He works primarily with electro-acoustic media; - diverse objects and materials interacting through amplification and signal processing to create multi-layered forms, orbiting around the kinetic nature of the transformation of electrical audio signals into disturbed air.

There are some two-dimensional figures, also known as ambiguous figures, that when viewed, can give rise to experiences that offer different phenomenal characters, these differences can be seen in sharp or even distinct ways. The switch from seeing an image in one way to seeing it in another, can happen suddenly or even gradually, due to certain saccadic features of our visual perception, this is known as the Gestalt shift. Although one can have a certain autonomy over the Gestalt switching phenomenon, it often happens without your control, unrealised and perplexing. What is happening when one undergoes the Gestalt switch is that one’s visual, intellectual or even emotional knowledge of an experience changes. One has experiences of several different phenomenal characters one after the other. As a result, it evokes introspective thinking, a consideration of ones interior state in relation to the exterior input. Figures invites the spectator to focus on ones own trajectory of thought stimulated by a cascade of physical landcapes.

In the program of the festival the performance will be presented both in the theatre and in a site specific location.

--------------------

Liza Baliasnaja is a dance artist based in Brussels, born in Lithuania. After graduating from P.A.R.T.S in 2016, Liza has been involved as a dancer in the performances by Mårten Spångberg and Eszter Salamon. Meanwhile she is making her own work betweeen Belgium and Lithuania.

Sidney Barnes in a dance and music artist from London. He graduated P.A.R.T.S in 2016. Ever since he has been composing music, working in the field of print making as well as choreography. As a performer, Sidney is involved in the works by Eszter Salamon and Mårten Spångberg.

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.

------------

Maya Matilda Carroll is a choreographer, dancer, teacher, based in Berlin since 2004. Created over 30 works within collaborative projects in Europe and worldwide. Leads classes and workshops, extensively developing her teaching methods alongside her artistic work. The Instrument was formed in 2011 with her partner, composer / musician Roy Carroll. Maya's work is anchored in the tangible and imagined; drawn from and towards the body's memory, social roots and myth, humans and their environment.

Ornit Mark Eitan Born in Israel (1975). Works as a freelance dancer since 1999. Holds a B.A in Dance and an M.A in Cinema and has a rich teaching experience in composition, improvisation, dance history and video dance. In recent years she has been creating in the fields of dance and cinema, sometimes integrating the two media in her work, while constantly searching for the right balance between creativity, teaching and motherhood.

Roy Carroll is a musician and composer, based in Berlin. His work encompasses improvisation, composition, music / choreographic collaboration and practical / experimental research, with porous borders in between. He works primarily with electro-acoustic media; - diverse objects and materials interacting through amplification and signal processing to create multi-layered forms, orbiting around the kinetic nature of the transformation of electrical audio signals into disturbed air.

Alfa is a movement duet that begins and ends with a hug.
'Alfa' is a collection of moments derived from a continuous aesthetic search and physical inquiry into different mental stances related to the possibility of closeness. The starting point of the process that produced 'Alfa' was the longing for intimacy, alongside a difficulty to exercise is. During the work process we tried to gather various moments of intimacy from different points in our lives, inspect them, try them on again for a moment, play with them and take them to extremity.

Photography: Tomer Zmora | Special thanks: Ohad Hadad, Ofir Yudilevitch, Oren Laor, Maya Levi, Niv Sheinfeld, Sigal Dahan, Sharon Zuckerman Weiser, Tomer Zmora, and the current class of the Choreography Program at the Kelim Center.

Hoodi Ben Ami is a graduate of the School of Visual Theatre (2017), engage in different disciplines of the art field as well as the connections between them, with an emphasis on performance, theater, and dance. Hoodi is the founder and operator of the Public Gallery in Jerusalem, co-producer and host of the queer poerty events “Queerika”, and the curator and producer of the “Briefs in Bed” events.

Matan Tawfik took part in different performance and dance works. He is currently a student in the Choreography Program at the Kelim Choreography Cetner and serves as a research assistant at the National Library's Digital Dance Archive project. Matan pursued a B.A. in Dance at the Music and Dance Academy in Jerusalem, as well as Sociology and Anthropology at the Hebrew University, while also being active in a circus group in Jerusalem.

--------------------

LEVIIAA

Breath flower openes between our lips sent on overtone rainbows straight into your ear face you audience
This piece is about big things that open up gently; About the spaces between mouth to ear, mouth to nose, mouth to mouth to heart. The piece is born every moment out of the desire and the need to truly meet, to be intimate with the materials from which life is made: Breath, pulse, motion, stop, syllables, crying, laughter, embarrassment, prayer, singular uncertainty - sweet and shocking. True friendship and listening are our musical instruments. Sometimes the music is pleasurable, sometimes it is touching where it hurts.

performers: Or Avishay, Faye Shapiro, Keren Ben Altabet, Avner Miryam Amit | by: Keren Ben Altabet, Avner Miryam Amit | artistic adviser: Yonatan Levy | The piece has been created in the Residency program of Kelim center for choreography, and in support of the Mifal Pais

Avner Miryam Amit (poet) and Keren Ben Altabet (dancer) are partners in life and in creation.
Our work strives for a place of living dialogue, in which the point of contact leads to the artistic act. Together we explore language, body and music through our mutual breath. We teach and perform in Israel and abroad, together and apart, and collaborate with artists from various fields.

Inspired by and as homage to "realtime composer“ and improviser Steve Paxton 'Goldberg 365' started as a project of ongoing improvisation in public space on a daily basis, dancing and performing, using the frame of the so called Goldberg-variations by baroque composer Johann Sebastian Bach. Aschwandens interests are mostly focused on adapting and performing the variations in public space, related to, and within the textures of the urban, as a nonlinear mapping, taking along physical forms of thinking with the body. Measuring the spaces and locations, the not outspoken there, the defined as well as the undefined.
Stage designer Stephanie Rauch created a portable space marker which, once unfolded intervenes in the everyday life, supports place making. The series lasting over a period of 365 days speaking about potential relations of art and life in the context of public and private space. Goldberg 365 intended to vary the variation on all levels: sound, space, movement. Aschwanden often uses a version created especially for the event by Beijing experimental musician Liu Xinyu relating to the original of Johann Sebastian Bach.

---------------------

Daniel Aschwanden, Swiss, Vienna, *1959 . performer, choreographer,
where art meets the social: performative interventions in urban contexts, hybrid formats questioning and researching public spaces in Europe, Asia, Africa, stressing the angle of cultural exchange, participation and communication, using a variety of art practices articulating themselves in a wide range of movement/dance -based formats reaching from public spaces to installations and performances in blackbox and white cubes theaters, relating social to art agendas.

‘The Light from Beneath Reaches’ is a music / dance / verbal theatre of naked communication. The elements are bold, fragile and evident. The might not shout but they remain standing up in the wind. What touches need not shock but in a partnership of listening, dance and music and words rest vibrant in their solidarity.

------------------

Julyen Hamilton has created and performed a multitude of dance works over the past 40 years through out the world. As well as solo works he directs his company ‘Allen’s Line’.

Maya M. Carroll choreographer/dancer has created over 30 works. her work is touches firmly on the palpable and the imagined/reality and myth.

Roy Carroll musician/composer,make work which encompasses improvisation and composition in the saction of ‘disturbing the air’…and in so doing moves the listener and watcher both physically and emotionally.

Alfa is a movement duet that begins and ends with a hug.
'Alfa' is a collection of moments derived from a continuous aesthetic search and physical inquiry into different mental stances related to the possibility of closeness. The starting point of the process that produced 'Alfa' was the longing for intimacy, alongside a difficulty to exercise is. During the work process we tried to gather various moments of intimacy from different points in our lives, inspect them, try them on again for a moment, play with them and take them to extremity.

Photography: Tomer Zmora | Special thanks: Ohad Hadad, Ofir Yudilevitch, Oren Laor, Maya Levi, Niv Sheinfeld, Sigal Dahan, Sharon Zuckerman Weiser, Tomer Zmora, and the current class of the Choreography Program at the Kelim Center.

Hoodi Ben Ami is a graduate of the School of Visual Theatre (2017), engage in different disciplines of the art field as well as the connections between them, with an emphasis on performance, theater, and dance. Hoodi is the founder and operator of the Public Gallery in Jerusalem, co-producer and host of the queer poerty events “Queerika”, and the curator and producer of the “Briefs in Bed” events.

Matan Tawfik took part in different performance and dance works. He is currently a student in the Choreography Program at the Kelim Choreography Cetner and serves as a research assistant at the National Library's Digital Dance Archive project. Matan pursued a B.A. in Dance at the Music and Dance Academy in Jerusalem, as well as Sociology and Anthropology at the Hebrew University, while also being active in a circus group in Jerusalem.

--------------------

LEVIIAA

Breath flower openes between our lips sent on overtone rainbows straight into your ear face you audience
This piece is about big things that open up gently; About the spaces between mouth to ear, mouth to nose, mouth to mouth to heart. The piece is born every moment out of the desire and the need to truly meet, to be intimate with the materials from which life is made: Breath, pulse, motion, stop, syllables, crying, laughter, embarrassment, prayer, singular uncertainty - sweet and shocking. True friendship and listening are our musical instruments. Sometimes the music is pleasurable, sometimes it is touching where it hurts.

performers: Or Avishay, Faye Shapiro, Keren Ben Altabet, Avner Miryam Amit | by: Keren Ben Altabet, Avner Miryam Amit | artistic adviser: Yonatan Levy | The piece has been created in the Residency program of Kelim center for choreography, and in support of the Mifal Pais

Avner Miryam Amit (poet) and Keren Ben Altabet (dancer) are partners in life and in creation.
Our work strives for a place of living dialogue, in which the point of contact leads to the artistic act. Together we explore language, body and music through our mutual breath. We teach and perform in Israel and abroad, together and apart, and collaborate with artists from various fields.

Inspired by and as homage to "realtime composer“ and improviser Steve Paxton 'Goldberg 365' started as a project of ongoing improvisation in public space on a daily basis, dancing and performing, using the frame of the so called Goldberg-variations by baroque composer Johann Sebastian Bach. Aschwandens interests are mostly focused on adapting and performing the variations in public space, related to, and within the textures of the urban, as a nonlinear mapping, taking along physical forms of thinking with the body. Measuring the spaces and locations, the not outspoken there, the defined as well as the undefined.
Stage designer Stephanie Rauch created a portable space marker which, once unfolded intervenes in the everyday life, supports place making. The series lasting over a period of 365 days speaking about potential relations of art and life in the context of public and private space. Goldberg 365 intended to vary the variation on all levels: sound, space, movement. Aschwanden often uses a version created especially for the event by Beijing experimental musician Liu Xinyu relating to the original of Johann Sebastian Bach.

performance locatin: Kikar Hamatseva: Ha'Atsmaut Blvd 67, Bat Yam
---------------------

Daniel Aschwanden, Swiss, Vienna, *1959 . performer, choreographer,
where art meets the social: performative interventions in urban contexts, hybrid formats questioning and researching public spaces in Europe, Asia, Africa, stressing the angle of cultural exchange, participation and communication, using a variety of art practices articulating themselves in a wide range of movement/dance -based formats reaching from public spaces to installations and performances in blackbox and white cubes theaters, relating social to art agendas.

‘The Light from Beneath Reaches’ is a music / dance / verbal theatre of naked communication. The elements are bold, fragile and evident. The might not shout but they remain standing up in the wind. What touches need not shock but in a partnership of listening, dance and music and words rest vibrant in their solidarity.

-----------------------

Julyen Hamilton has created and performed a multitude of dance works over the past 40 years through out the world. As well as solo works he directs his company ‘Allen’s Line’.

Maya M. Carroll choreographer/dancer has created over 30 works. her work is touches firmly on the palpable and the imagined/reality and myth.

Roy Carroll musician/composer,make work which encompasses improvisation and composition in the saction of ‘disturbing the air’…and in so doing moves the listener and watcher both physically and emotionally.

Inspired by and as homage to "realtime composer“ and improviser Steve Paxton 'Goldberg 365' started as a project of ongoing improvisation in public space on a daily basis, dancing and performing, using the frame of the so called Goldberg-variations by baroque composer Johann Sebastian Bach. Aschwandens interests are mostly focused on adapting and performing the variations in public space, related to, and within the textures of the urban, as a nonlinear mapping, taking along physical forms of thinking with the body. Measuring the spaces and locations, the not outspoken there, the defined as well as the undefined.
Stage designer Stephanie Rauch created a portable space marker which, once unfolded intervenes in the everyday life, supports place making. The series lasting over a period of 365 days speaking about potential relations of art and life in the context of public and private space. Goldberg 365 intended to vary the variation on all levels: sound, space, movement. Aschwanden often uses a version created especially for the event by Beijing experimental musician Liu Xinyu relating to the original of Johann Sebastian Bach.

performance locatin: Kikar Hamatseva: Ha'Atsmaut Blvd 67, Bat Yam

---------------------

Daniel Aschwanden, Swiss, Vienna, *1959 . performer, choreographer,
where art meets the social: performative interventions in urban contexts, hybrid formats questioning and researching public spaces in Europe, Asia, Africa, stressing the angle of cultural exchange, participation and communication, using a variety of art practices articulating themselves in a wide range of movement/dance -based formats reaching from public spaces to installations and performances in blackbox and white cubes theaters, relating social to art agendas.

THE CALLING הוא מופע מיוזיקל היוצא להרפתקאה בתוך נוף ערפל, שגבולותיו אינם ידועים.
המניעים אותו הם חבורה של חמישה רקדנים בני דורות שונים, ההולכים אל עבר מה שעתיד להתרחש. לשם כך הם יוצרים פערים בין הנראה לנשמע, בין טקסט ליללה, בין מה שבחוץ למה שבפנים. הריתמוסים הגופניים והקוליים אותם הם מבצעים מהווים קריאות להפרה והשבה של סדר- אלה רגעים בהם מתאפשרת קהילה ומקהלה זמנית. ביחד הם מעלים מופע שבוער מבפנים ורוצה כל הזמן להמשיך וללכת.

THE CALLING הוא מופע מיוזיקל היוצא להרפתקאה בתוך נוף ערפל, שגבולותיו אינם ידועים.
המניעים אותו הם חבורה של חמישה רקדנים בני דורות שונים, ההולכים אל עבר מה שעתיד להתרחש. לשם כך הם יוצרים פערים בין הנראה לנשמע, בין טקסט ליללה, בין מה שבחוץ למה שבפנים. הריתמוסים הגופניים והקוליים אותם הם מבצעים מהווים קריאות להפרה והשבה של סדר- אלה רגעים בהם מתאפשרת קהילה ומקהלה זמנית. ביחד הם מעלים מופע שבוער מבפנים ורוצה כל הזמן להמשיך וללכת.

Ana Vagana is a fabric embroided by creation, femininity, motherhood and blood. Her body speaks through texts by Hélène Cixous, Luce Irigaray, Wisława Szymborska and Dominique Christina: The four spiritual mothers of the piece. Women writers of an old-new- order. Anat Danieli presents new habits of physical arrangements by exchanging symmetries in the body, moving on the horizontal and visiting at the vertical - to say what eventually must be said. The blood.

Ana Vagana offers a new organization of the organs, so we have other possibilities to be born, to renew, to be ancient, as dinozaors, to be nature, live body, a natural view. And to give life. To give birth. To bleed. To call all that is repressed, primal, all that is waiting to return with all its glory into a matriarchal ancient new world of flesh, bones and blood cells. Remembering the body being inside a body, being two, having multiple lives, being inseparable, and being separable, and giving more life, and more.

And the body screams the scream of birth, the understanding of the blood. Blood that men encounter whilst they fight, wound and kill. Blood that women meet through the cycle of life. The piece imagines a partnership between men and woman, which allows access to their source.

This is Feder & Marques' third piece around the figure of the Stage Animal. This time, they invite role models of that species - Camacho & Shelef - to investigate notions of authority, kinship and generational inheritance. The work offers the spectators an intricate form of time travel that reveals a shattered narrative of a royal lineage of dance and an intimate tale of love and its vicissitudes.

Ana Vagana is a fabric embroided by creation, femininity, motherhood and blood. Her body speaks through texts by Hélène Cixous, Luce Irigaray, Wisława Szymborska and Dominique Christina: The four spiritual mothers of the piece. Women writers of an old-new- order. Anat Danieli presents new habits of physical arrangements by exchanging symmetries in the body, moving on the horizontal and visiting at the vertical - to say what eventually must be said. The blood.

Ana Vagana offers a new organization of the organs, so we have other possibilities to be born, to renew, to be ancient, as dinozaors, to be nature, live body, a natural view. And to give life. To give birth. To bleed. To call all that is repressed, primal, all that is waiting to return with all its glory into a matriarchal ancient new world of flesh, bones and blood cells. Remembering the body being inside a body, being two, having multiple lives, being inseparable, and being separable, and giving more life, and more.

And the body screams the scream of birth, the understanding of the blood. Blood that men encounter whilst they fight, wound and kill. Blood that women meet through the cycle of life. The piece imagines a partnership between men and woman, which allows access to their source.

This is Feder & Marques' third piece around the figure of the Stage Animal. This time, they invite role models of that species - Camacho & Shelef - to investigate notions of authority, kinship and generational inheritance. The work offers the spectators an intricate form of time travel that reveals a shattered narrative of a royal lineage of dance and an intimate tale of love and its vicissitudes.

PALE FIRE is an evening length solo dance performance. It draws inspiration from Vladimir Nabokov's extraordinary poem, Pale Fire, that appears as a text-within-a text in his novel of the same name, published in 1962. The poem, considered one of the most beautiful in the English language, deals with artistic creation and inspiration, with ageing and death, memory and artistic appropriation. The tension between the poem's rigorous, almost mathematical, structure and its exuberant flights of fancy, are striking, serves as a rhythmic and thematic basis to my dance piece; I have also appropriated a few of the poem's images into my work as well. The piece, like the original, is my own fictional autobiography, mixing movement, imagery, spoken word and song. Like the poem, my piece aims to create a house of mirrors in which fragments of my true self appear intermittently. As part of this series of reflections, my niece Lia Bergman, the daughter of my identical twin, joins me in the performance, playing a character that links my own past with the future embodied in her playful and youthful persona.

Ana Vagana is a fabric embroided by creation, femininity, motherhood and blood. Her body speaks through texts by Hélène Cixous, Luce Irigaray, Wisława Szymborska and Dominique Christina: The four spiritual mothers of the piece. Women writers of an old-new- order. Anat Danieli presents new habits of physical arrangements by exchanging symmetries in the body, moving on the horizontal and visiting at the vertical - to say what eventually must be said. The blood.

Ana Vagana offers a new organization of the organs, so we have other possibilities to be born, to renew, to be ancient, as dinozaors, to be nature, live body, a natural view. And to give life. To give birth. To bleed. To call all that is repressed, primal, all that is waiting to return with all its glory into a matriarchal ancient new world of flesh, bones and blood cells. Remembering the body being inside a body, being two, having multiple lives, being inseparable, and being separable, and giving more life, and more.

And the body screams the scream of birth, the understanding of the blood. Blood that men encounter whilst they fight, wound and kill. Blood that women meet through the cycle of life. The piece imagines a partnership between men and woman, which allows access to their source.
​

Ana Vagana is a fabric embroided by creation, femininity, motherhood and blood. Her body speaks through texts by Hélène Cixous, Luce Irigaray, Wisława Szymborska and Dominique Christina: The four spiritual mothers of the piece. Women writers of an old-new- order. Anat Danieli presents new habits of physical arrangements by exchanging symmetries in the body, moving on the horizontal and visiting at the vertical - to say what eventually must be said. The blood.

Ana Vagana offers a new organization of the organs, so we have other possibilities to be born, to renew, to be ancient, as dinozaors, to be nature, live body, a natural view. And to give life. To give birth. To bleed. To call all that is repressed, primal, all that is waiting to return with all its glory into a matriarchal ancient new world of flesh, bones and blood cells. Remembering the body being inside a body, being two, having multiple lives, being inseparable, and being separable, and giving more life, and more.

And the body screams the scream of birth, the understanding of the blood. Blood that men encounter whilst they fight, wound and kill. Blood that women meet through the cycle of life. The piece imagines a partnership between men and woman, which allows access to their source.
​

Ana Vagana is a fabric embroided by creation, femininity, motherhood and blood. Her body speaks through texts by Hélène Cixous, Luce Irigaray, Wisława Szymborska and Dominique Christina: The four spiritual mothers of the piece. Women writers of an old-new- order. Anat Danieli presents new habits of physical arrangements by exchanging symmetries in the body, moving on the horizontal and visiting at the vertical - to say what eventually must be said. The blood.

Ana Vagana offers a new organization of the organs, so we have other possibilities to be born, to renew, to be ancient, as dinozaors, to be nature, live body, a natural view. And to give life. To give birth. To bleed. To call all that is repressed, primal, all that is waiting to return with all its glory into a matriarchal ancient new world of flesh, bones and blood cells. Remembering the body being inside a body, being two, having multiple lives, being inseparable, and being separable, and giving more life, and more.

And the body screams the scream of birth, the understanding of the blood. Blood that men encounter whilst they fight, wound and kill. Blood that women meet through the cycle of life. The piece imagines a partnership between men and woman, which allows access to their source.
​
After the show, Dr. Miri Rozmarin talks to Anat Danieli about motherhood and feminism

PALE FIRE is an evening length solo dance performance. It draws inspiration from Vladimir Nabokov's extraordinary poem, Pale Fire, that appears as a text-within-a text in his novel of the same name, published in 1962. The poem, considered one of the most beautiful in the English language, deals with artistic creation and inspiration, with ageing and death, memory and artistic appropriation. The tension between the poem's rigorous, almost mathematical, structure and its exuberant flights of fancy, are striking, serves as a rhythmic and thematic basis to my dance piece; I have also appropriated a few of the poem's images into my work as well. The piece, like the original, is my own fictional autobiography, mixing movement, imagery, spoken word and song. Like the poem, my piece aims to create a house of mirrors in which fragments of my true self appear intermittently. As part of this series of reflections, my niece Lia Bergman, the daughter of my identical twin, joins me in the performance, playing a character that links my own past with the future embodied in her playful and youthful persona.

Lo-La" by Leatt Katzur

"Lo-La", a woman's self-performance that combines theater, dance and singing.
This performance exposes an internal quiet and yet temperamental world that is conservative and changeable at the same time.
Trough accurate and delightful humor this show floods the question of self-love.
Self-rejection and misery comes up from depending on external approvals. It is apparently awaking the thoughts about the way we choose while we search self-peace and serenity.
A surprising, emotional and moving performance that makes the audience, through humor and pain, move in its chairs.

---------------

Goofy by Roni Chadash

"And your desire shall be to your husband, and he shall rule over you."

A desperate attempt to understand when and why do we lose our innocence and how an amorphic body transforms to a known and limited creature - A woman

Choreography & performance: Roni Chadash
Rehearsals Manager: Dana Shoval
Lighting: Amir Castro

iWoman 2.0 מאת שלומית פונדמינסקי
האישה המושלמת האם היא קיימת? הדואט בוחן באופן אבסורדי וגרוטסקי מי היא האישה המושלמת, האידיאלית, כפי שהיא נתפסת בעיני היוצרות ובעיני החברה.
הכוריאוגרפיה של שלומית פונדמינסקי בשיתוף עם הרקדניות/יוצרות עינת גנץ ורביד אברבנאל הוא רצף דימויים נשיים, הלקוחים מחיי יום יום, מתקופות ומגילאים שונים. הדואט פיזי מאוד. הגוף של הרקדניות הוא כחומר פיסולי הלובש ופושט צורת נשים מקטנות לגדולות, בתהליך השתנות תמידי. הן עוברות דרך אייקונים כמו גיבורות על, דיוות, אלילות, יצורות בעלות שני ראשים ומרובות זרועות. הן במרדף אין סופי אחר דרישות החברה, האופנה וההגדרה השברירית של היופי הנשי.
המלחינה דגנית אליקים כתבה את הפסקול אשר נע בגבולות שבין תסכית למוזיקה. קולאז' המספר את העבר וההווה של הדיכוי והפתולוגיה הנשית דרך התיעוד שלו בתקשורת ההמונים (בשימוש חומרים השאובים מארכיונים אינטרנטיים), בציר שנע ללא אבחנה בין עבר והווה.
אנו לוקחות את הזמן, בכל פגישה, לומר את המנטרה הבאה: אני מושלמת. אני חזקה. אני אישה. אני יכולה. הייתי. אהיה." (אביגיל הגר)

כוריאוגרפיה: שלומית פונדמינסקי
רקדניות יוצרות: עינת גנץ, רביד אברבאנל.
פס קול: דגנית אליקים.
תלבושות: ענבל ליבליך.
תאורה: אורי רובינשטיין.
הפקה: דנה גורסקי הפקות.

אדום, אני רואה מאת סהר עזימי
אט אט פחדה התפוגג, והוא הציע את חזהו ללטיפותיה הבתוליות,
את קרניו כדי שתכרוך עליהם זרי פרחים,
עד שהנסיכה העיזה לטפס על גבו,
היא ליטפה את גב השור, בלי להיות מודעת על מי היא רוכבת,
אז לאט לאט במורד החוף הרחב והיבש,
בתחילה האל האדיר הציב את פרסותיו המדומות בגלים הרדודים,
ואז התנהל הלאה - עד שהגיע לים הפתוח - עם השלל שנשא,
פחד מילא את ליבה, כאשר בהביטה לאחור, היא ראתה את החולות המתרחקים במהירות,
היא לפתה בימינה קרן, ידה השנייה נחה על גבו,
הטוניקה שלה מתנופפת ברוח הקלה.
(אובידיוס)

אישה וגבר בעולם של גברים. מי הקורבן? איפה עובר הגבול בין רצון לכפיה?
שיתוף פעולה עם הרקדנית אוליביה קורט מסה וסהר עזימי, יחד על הבמה. השור והאישה

מאת: סהר עזימי
רקדנים יוצרים: אוליביה קורט מסה, סהר עזימי
מוזיקה: מת׳יו גרין
תלבושות: הילה שפירא
תאורה: אורי רובינשטיין
הפקה: דנה גורסקי הפקות

PALE FIRE is an evening length solo dance performance. It draws inspiration from Vladimir Nabokov's extraordinary poem, Pale Fire, that appears as a text-within-a text in his novel of the same name, published in 1962. The poem, considered one of the most beautiful in the English language, deals with artistic creation and inspiration, with ageing and death, memory and artistic appropriation. The tension between the poem's rigorous, almost mathematical, structure and its exuberant flights of fancy, are striking, serves as a rhythmic and thematic basis to my dance piece; I have also appropriated a few of the poem's images into my work as well. The piece, like the original, is my own fictional autobiography, mixing movement, imagery, spoken word and song. Like the poem, my piece aims to create a house of mirrors in which fragments of my true self appear intermittently. As part of this series of reflections, my niece Lia Bergman, the daughter of my identical twin, joins me in the performance, playing a character that links my own past with the future embodied in her playful and youthful persona.

בעבודתה החדשה משתפת בק פעולה עם השחקן הפיסי הותיק צביקה פישזון והאדריכלים ליטל פולקמן ונדב ביגניץ.

"המפגש בין הגופים השונים של שני הפרפורמרים, המקפלים בתוכם, זהות, פרקטיקות, היסטוריה, תרבות, גיל ומגדר שונים, מסקרן ביכולתו לחשוף, לזקק, לאתגר ולגלות את הגוף האחר כמו את הגוף שלי עצמי, המדבר את עצמו, היסטוריה, זיכרון, שגרה, יצר. גופים חוויתיים המתערבבים, טועמים ומטעימים זה את זה. טקסטורות פיזיות ורגשיות מרובות רבדים המגששות, מתפרקות כל אחת לעצמה, לתוך השניה, ולתוך החלל. החלל והמרחב גם הם מתקפלים אל תוך הגופים ומייצרים טופוגרפיות שונות ומשתנות התורמות גם הן ליצירת התוכן."

בעבודתה החדשה משתפת בק פעולה עם השחקן הפיסי הותיק צביקה פישזון והאדריכלים ליטל פולקמן ונדב ביגניץ.

"המפגש בין הגופים השונים של שני הפרפורמרים, המקפלים בתוכם, זהות, פרקטיקות, היסטוריה, תרבות, גיל ומגדר שונים, מסקרן ביכולתו לחשוף, לזקק, לאתגר ולגלות את הגוף האחר כמו את הגוף שלי עצמי, המדבר את עצמו, היסטוריה, זיכרון, שגרה, יצר. גופים חוויתיים המתערבבים, טועמים ומטעימים זה את זה. טקסטורות פיזיות ורגשיות מרובות רבדים המגששות, מתפרקות כל אחת לעצמה, לתוך השניה, ולתוך החלל. החלל והמרחב גם הם מתקפלים אל תוך הגופים ומייצרים טופוגרפיות שונות ומשתנות התורמות גם הן ליצירת התוכן."

בעבודתה החדשה משתפת בק פעולה עם השחקן הפיסי הותיק צביקה פישזון והאדריכלים ליטל פולקמן ונדב ביגניץ.

"המפגש בין הגופים השונים של שני הפרפורמרים, המקפלים בתוכם, זהות, פרקטיקות, היסטוריה, תרבות, גיל ומגדר שונים, מסקרן ביכולתו לחשוף, לזקק, לאתגר ולגלות את הגוף האחר כמו את הגוף שלי עצמי, המדבר את עצמו, היסטוריה, זיכרון, שגרה, יצר. גופים חוויתיים המתערבבים, טועמים ומטעימים זה את זה. טקסטורות פיזיות ורגשיות מרובות רבדים המגששות, מתפרקות כל אחת לעצמה, לתוך השניה, ולתוך החלל. החלל והמרחב גם הם מתקפלים אל תוך הגופים ומייצרים טופוגרפיות שונות ומשתנות התורמות גם הן ליצירת התוכן."

יצירה לארבעה רקדנים הנעים בעולם דמוי כוכב לכת רחוק וקפוא. הארבעה נעים דרך מבעי רגש שכמו נחתכו מקומיקס או מסרטי אימה פסיכולוגיים‫, הם חומריים ומכנים, כמו משחקים של ילדים ענקיים הנעדרים מהבמה ואין להם כל אחריות על המתרחש. בעזרתם היא מתארת עולם יפה ורע ויוצרת התקף חרדה אסתטי

בשמת נוסן היא כוריאוגרפית, רקדנית ומורה לגאגא. רקדה בלהקת המחול בת שבע ובלהקת המחול של ענבל פינטו. בשנים האחרונות היא יוצרת ומשתפת פעולה עם יוצרים שונים בארץ ובח"ול, עבודותיה האחרונות חוקרות את התנועה, הרגש והדימוי כמבע מכני.

חלק שני של הערב - הרצאה מאת הדרמטורגית שיר חכם:
"להופיע צורות בזמנים של תוכן סובייקטיבי, על הפוסט דאנס של בשמת נוסן ועל הריק הדיסקורסיבי של המחול בישראל"

העבודה הציגה לראשונה בפסטיבל 'הרמת מסך' 2015, בתמיכת מועצת הפיס לתרבות ואמנות, וכחלק מתוכנית 'שהות אמן' 2015 שבמרכז כלים.

יצירה לארבעה רקדנים הנעים בעולם דמוי כוכב לכת רחוק וקפוא. הארבעה נעים דרך מבעי רגש שכמו נחתכו מקומיקס או מסרטי אימה פסיכולוגיים‫, הם חומריים ומכנים, כמו משחקים של ילדים ענקיים הנעדרים מהבמה ואין להם כל אחריות על המתרחש. בעזרתם היא מתארת עולם יפה ורע ויוצרת התקף חרדה אסתטי

בשמת נוסן היא כוריאוגרפית, רקדנית ומורה לגאגא. רקדה בלהקת המחול בת שבע ובלהקת המחול של ענבל פינטו. בשנים האחרונות היא יוצרת ומשתפת פעולה עם יוצרים שונים בארץ ובח"ול, עבודותיה האחרונות חוקרות את התנועה, הרגש והדימוי כמבע מכני.

חלק שני של הערב - הרצאה מאת הדרמטורגית שיר חכם:
"להופיע צורות בזמנים של תוכן סובייקטיבי, על הפוסט דאנס של בשמת נוסן ועל הריק הדיסקורסיבי של המחול בישראל"

העבודה הציגה לראשונה בפסטיבל 'הרמת מסך' 2015, בתמיכת מועצת הפיס לתרבות ואמנות, וכחלק מתוכנית 'שהות אמן' 2015 שבמרכז כלים.