choreography Archives – Jewish Journal

Congratulations Mia Schlosser, Finalist in The Music Center’s annual Spotlight program

Lisa Ellen Niver May 21, 2021

Batsheva Dance Company celebrates 50th birthday

Avishay Artsy October 29, 2014

Los Angeles may be known as one of the world’s entertainment capitals, but when it comes to dance, the city has lagged behind the likes of New York, San Francisco, Paris, Moscow — and even Tel Aviv.

Unleashing dance, offstage

Jewish Journal March 6, 2013

Choreographer Heidi Duckler isn’t content simply to make works for a stage. To her, the whole of Los Angeles, the whole of the world, even, is fit for dancing. Why leap across a theater floor when you can glide around the lobby of an office building? Why spin atop sprung wood when you can frolic in a laundromat?

Choreographer debuts morality tale on dangers of jealousy

Jewish Journal May 9, 2012

Barak Marshall didn’t want to be a dancer. A lawyer, a singer, a scholar — anything but a dancer. “It was what she did,” Marshall says of his Yemenite mother, Margalit Oved, the one-time prima ballerina of the Inbal dance company, a giant of the dance world. And so he resisted. He sang in a choir; he went to Harvard and studied social theory and philosophy. But like most stories in which a man tries to flee his destiny, the world had other plans.\n

In This Corner — the Choreographer

Susan Josephs June 8, 2006

Choreographer Keith Glassman always wanted to learn more about his grandfathers and why they both pursued boxing careers in their youth. Known for dances that blend natural, athletic movement with sociological commentary, Glassman decided to make a piece that would allow him to explore whether other Jewish men in his grandfathers\’ generation also boxed \”to make money. I was surprised to find out that there were a lot of Jewish boxers,\” he says. \”It was an immigrant\’s way of trying to make it in America.\”

‘Monumental’:

Susan Josephs March 16, 2006

When they first started dancing together, Noam Gagnon and Dana Gingras used to lock themselves in a studio for somewhere between five and seven hours a day. Together, they tried to make their bodies react in \”authentic ways,\” irrespective of how high they could jump, how fast they could turn or any other techniques their dance training had already taught them.