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Ohad Naharin, choreographer of Israel's Batsheva Dance Company credits a back injury with helping him develop a new language of dance.
The dance, called "Missa Brevis," premiered the following year in a bombed-out church in Budapest and would become a masterpiece of the Limon canon. The June 1958 issue of Dance Magazine declared "it has been a long time since modern dance has produced a work so profoundly stirring and exalting." Carla Maxwell, artistic director of the Jose Limon Dance Company since 1978, called it "one of those rare, perfect dances. Poland moved Limon profoundly, and from it, he created some of the most glorious choreography."
In choreographer Roni Kosmal-Wernik's piece about the aftermath of a suicide bombing, a dancer prowls the stage as if searching for a lost loved one. Her movements become heavy, brooding, as if she is burdened by an invisible weight.
Inspired by a family friend's death in a 2001 attack, Kosmal-Wernik's work will help kick off a June 20 event at Temple Emanuel to support other victims of terror. Performers such as pianist Sha-Rone Kushnir will appear to benefit ATZUM, a Jerusalem-based charity that provides necessities for families not covered by Israel's overburdened welfare system.
"Artists for ATZUM," is the latest Los Angeles response to Israel-based violence.
Al Carmines' lush score provides the backdrop for "The Song of Songs," now at the Fountain, in which five dancers pair off while singers chant biblical text. Its creators hope to convey the essence of the ancient poetry, which describes God's love for the Israelites as the passion between a man and a woman.
When Boris Eifman's ballet, "Tchaikovsky: The Mystery of Life and Death," premiered in Moscow in 1993, angry picketers surrounded the concert hall.
When Boris Eifman's ballet, "Tchaikovsky: The Mystery of Life and Death," premiered in Moscow in 1993, angry picketers surrounded the concert hall.
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