Jewish Israel Dance Theatre Photography Photo Art Book Deaf Kol- Demama Hebrew
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Jewish Israel Dance Theatre Photography Photo Art Book Deaf Kol- Demama Hebrew:
DESCRIPTION : Here for sale is a quite RARE photographed artistic DANCE BOOK which is entirely dedicated to the DANCE GROUP named "KOL - DEMAMA" ( SOUND - SILENCE ) , A unique prizes winning DANCE COMPANY which integrating ten dancers hearing impairment ( DEAF ) together with and ten dancers without. The book " KOL DEMAMA UMACHOL" ( SOUND , SILENCE and DANCE ) was published 30 years ago in 1981 in Eretz ISRAEL . Written by the company FOUNDER , LEADER , ARTISTIC MANAGER and CHOREOGRAPHER Moshe Efrati and it brings the story of the company , Presented in the most PROFESSIONAL manner , Both in Hebrew TEXT , But mainly in most beautiful artistic PHOTOS and ILLUSTRATIONS . The book was published in a small edition and it is very hard to find. A genuine BEAUTY . Original illustrated and decorated HC.Illustrated and photographed DJ . 10.5 x 10" .124 throughout illustrated andphotographedpp on heavy stock .Very goodcondition. Very slight DJ wear( Pls look at scan for accurate AS IS images ). Book will be sent inside a protective rigid envelope . PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : SHIPP worldwide via registered airmailis free .Book will be sent inside a protective rigid envelope .Will be sent within3-5 days after payment . Kindly note that duration of Int'l registered airmail is around 14 days.
The styles and themes of choreographer Moshe Efrati's creations are rooted in Israel, but his message,though stemming from the place where he lives, has universal significance. He claims an interest in man 'from the cradle to the grave' ("you have to penetrate the person, see what makes them tick") and in the cultural and historical assets of the Jewish nation ("he who disdains his past will have no future and his present will be as transient as fashion.") Born in Jerusalem and creating in Israel for over thirty years, Efrati portrays a society in flux and comments on the changes it is undergoing. He is an artist who cares, who pines, and he is no longer content to give his audience just an aesthetic experience; he has things to say. Moreover, as the years go by his message comes through clearer and blunter, as if he is clearing away the complexity of meaning in a choreographical composition and getting to the core, the one lucid message. He wants to say things outright and more than ever he feels pressed for time. Soloist of Bat Sheva in its early days, Efrati belongs to a generation spiritually coached by the high priestess of modern dance -- Martha Graham, and by other famous choreographers of the day, who had given the company the best of American modern dance -- Talley Beatty, Jerome Robins and Jose Limon, among others. However, he was one of the few who tried to escape their influence. He looked for a 'black hole', a niche of his own, where he could face the challenges and light the darkness in his own way. In the 1970's the young choreographer believed that only so could he make his mark as creative artist. His work with deaf dancers was to become Efrati's 'black hole'. In order to work with non-hearing dancers Efrati devised a system of vibrating the stage boards. The vibrations serve the deaf dancers as sound waves do the hearing. "I worked with them through the eyes", says Efrati in answer to a question. "I showed them the steps and they followed. I illustrated why I chose one movement rather than another. But visual contact allows only for frontal communication and unless I found a way of enabling them to move in space in all directions I could never have created a dance which deserves to be judged by artistic standards." In the course of experimenting with combinations of deaf and hearing dancers new communication codes evolved -- bodily contact, eye contact and sharp gestures to mark the beginning and end of a phrase. When only the deaf danced the sole accompaniment were beats on the stage boards but when Efrati introduced hearing dancers he added music to his work and then the deaf followed the body signs of the hearing dancers. The combination of deaf and hearing dancers generated a new quality of movement, not only due to the special concentration such work involves but also due to a new energy cycle that was created. "The deaf dancer", says Efrati, "is always linked to the energy of the ground, because he senses the vibrations, whereas the hearing dancer always aspires to soar. When deaf and hearing dancers dance together a dynamic cycle of energy is created -- the deaf's from below and that of the hearing from above." Notwithstanding that his first deaf dancers were amateurs, and despite their handicap, Efrati made no concession when it came to perfecting the tool of their trade -- the body. He demands long, clean bodily contours in the dancer's costume. A lesson in classical ballet became the daily fare of hearing and non-hearing dancers alike. "Every profession has its own ethics and standards and physical excellence is a professional must for a dancer. I will not make concessions where virtuosity is concerned. Dancers clad in heavy boots are a passing phase." Work with the deaf dancers has enriched Efrati, and the sign language has added to his choreographical vocabulary. "Because of their handicap, rather than despite it, I found in them qualities I missed in the hearing dancers, who seemed flat by comparison. The deaf have a world different from our own which has no use for the abstract. I can't even tell if their dreams contain sound. They have a range of sensibility, sight and receptivity, as well as integrity and an ability to concentrate that we lack." As early as 1980's he used the sign language as an integral component of a dance he put up in the Theatre de la Ville in Paris, Textures. Three years later Pina Bausch did the same on the very same stage. In the studio Efrati's dances come together fast. "He has a direct way with him, no obstacles, from the thought to the step", says Esther Nadler, a former soloist in his company and the choreographer's wife. "Sometimes it is difficult to follow the movements that rapidly flow from him, because he can't wait to get his draft out into the open." Efrati explains: "I never approach a work without good reason, and I don't start working with the dancers unless I have a spatial pattern in my mind. Everything floats in my imagination. I see the pictures, build the basis, the pattern of the dance, so I have the general flow of the groups and the smaller groupings. I build and break, build and break. In the studio, because the pattern is already there I have no problem with details. They simply fall into place according to characterization and general atmosphere." from "The Specific in the Universal" by Ruth Eshel, published in a special '20 years of Kol D'mama' supplement to the September 1995 issue of the Israel Dance magazine THE Moshe Efrati Kol Demama Dance Company from Israel is probably unlike any other dance troupe we have seen here, in that it is composed of both deaf and hearing dancers. Moreover, as was obvious in last night's opening of a weeklong debut season at the City Center, there is no distinction onstage between the two groups of dancers. Yes, they move as one - and this is strikingly demonstrated in the many unison passages that Mr. Efrati's choreography provides the dancers. There were four Efrati works on the program, and it was evident that the Israeli choreographer intends Kol Demama (Sound and Silence) to be judged primarily on artistic grounds. ''I am neither a social worker nor therapist, I am a dance creator,'' he has said. Even without having read this remark, one would be convinced that Mr. Efrati had produced a highly trained and homogenous ensemble - that these are real dancers in real choreography. It is just as obvious that some of the dancers are better than others, although this may have nothing to do with their hearing abilities, and that the choreography is also of varying quality. Yet what this company does have is some undefinable form of interaction that renders it precisely interesting when one would least expect it. It is not that human curiosity tries to make the distinction between the deaf and nondeaf dancers. It is rather that the choreographic and rehearsal process has obviously contributed to a kind of theatrical interrelation among the performers that is different from what one sees in other dance troupes. At times, an offstage prompter - presumably Mr. Efrati - is heard pounding the floor as a cue, or sometimes a dancer will stamp to provide the same vibrating effect. The dancers reportedly learn the choreography through a systematized use of floor vibrations, as well as cues that use facial expressions and gestures. Presumably, all the dancers can then memorize the choreography when they perform it repeatedly, but even here the timing would require certain cues and the above methods are integrated into the choreography, often unobtrusively. The company does not identify the hearing distinctions between the dancers, but it is not totally irrelevant to note that the main duets are performed by the leading male dancer, Amnon Damti, who is deaf, and Esther Nadler, who is not. They are, like Gabi Barr, the other female lead, possessors of a highly confident theatrical presence and they know how to hold the stage. An original member of the Batsheva company founded with Martha Graham's assistance by the Baroness Bethsabee de Rothschild, Mr. Efrati seemed to favor the Graham idiom when he struck out on his own as a choreographer. When his work was seen here with a French company, the Contemporary Ballet Theater, he could definitely have been typed as a modern-dance choreographer. Kol Demama shows him using a highly balleticized vocabulary (only toward the end of the program was Mr. Damti seen in a Graham movement, a back fall). The four works of the program, however, did not use this vocabulary very classically and the result is that Mr. Efrati remains a modern-dance choreographer using a ballet vocabulary. This approach worked most dramatically in ''Psalm of Jerusalem,'' where three units of dancers, led by Ofer Rom, Miss Barr, Mr. Damti and Miss Nadler, symbolized Judaism, Christianity and Islam, as the religions for which Jerusalem remains an international holy city. It is in such interweaving of fugal and structural effects here that the choreography is the most fascinating by any standard. Mrs. Mario Cuomo, the State's First Lady, opened the evening and, at the company's request, dedicated it to Howard J. Samuels, who died recently and who with his wife had led the fund-raising efforts to bring Kol Demama to the United States. ''Attachments,'' the first piece, was dedicated to Mr. Samuels. Mr. Efrati originally composed it in memory of his brother. Mr. Damti opened it, going alternately limp and vibrant, and then ended it as some sort of angel with a grieving Miss Nadler across his thighs. It is is works such as ''Dalet Amot'' (A Man Within Walls) and ''Chapters/Voices'' that the group's cuing methods are at their most complex. The music and sound, sometimes recordings of the deaf dancers's own voices, add to complexity. Mr. Efrati works in plotless dance but there is always an implied human metaphor at the core of each performance. The Program ATTACHMENTS, DALET AMOT, PSALM OF JERUSALEM, (New York Premieres), choreography, Moshe Efrati; music by Blecher, Purcel, Schostakovich, Bashevits and Noam Sheriff; costumes, Moshe Ben-Shaul and Gabi Barr; lighting, Danny Redler and Haim Tchelet. WITH: Esther Nadler, Amnon Damti, Gabi Barr and members of the company. Presented by the 55th Street Dance Theater Foundation, Inc. at City Center Theater. Unique of its kind is the Kol Demama Company, created by Moshe Efrati, a former member of the Batsheva company and a Graham student who began training deaf dancers and devised a method for teaching them to dance together with hearing dancers. His choreography shows no signs of any limitations. Among its frequent visits abroad, Kol Demama participated in the 1992 events in Spain marking the 500th anniversary of the expulsion of the Jews from that country.The company (whose name is Hebrew for "sound-silence") uses a variety of techniques to assist the deaf dancers to follow the music. The dancers get their cues from the vibration of the music, which often emphasizes the bass notes, as well as by eye contact, touch (such as taps on the shoulder), the movement of others, sharp beats from off stage and lighting shifts. These elements are all woven into the choreography. "We are two peoples living on the same planet but with different stimuli," explains Moshe Efrati, the company's founder, artistic director and choreographer. "But in our dance routines the audience can not tell who is deaf and who is hearing. Sometimes the deaf dancer will lead the hearing dancer and sometimes it is the other way around." Efrati began working with deaf dancers in 1967 and subsequently formed the Demama Company of deaf dancers. In parallel he was working with hearing dancers and in 1978 decided to integrate the two groups to form Kol Demama, half of whose 20 members are deaf. Based in Tel Aviv, the company also has a school for deaf and hearing dancers, which teaches several hundred youngsters each year. The dance troupe regularly performs both in Israel and at prime venues around the world. Kol Demama offers a wide range of contemporary dance including a stunning array of fresh visual images, athletic daring, polished technique and piercing emotion. The quality of Kol Demama's dancing can be gauged from the enthusiastic press reviews that the troupe receives worldwide. After a recent performance in Paris the French daily Le Figaro wrote, "The audience was open-mouthed at the astonishing beauty of the troupe. The choreography was original, very rich, very strong and above all else inspiring." The New York Times has been no less effusive. "This is what true choreography is all about," the paper's correspondent wrote. "Kol Demama's repertoire is much more diverse than that of conventional troupes. Efrati's arrangements are truly inspiring." Moshe Efrati choreographs all of Kol Demama's dances. Born to a family which came to the Land of Israel from Spain 500 years ago, Efrati bases his language of dance on the ties between Jewish tradition and the spirit of modern Israel. Medieval Spanish rhythms combine with Middle Eastern sounds as well as with contemporary influences such as that of the American choreographer Martha Graham. Efrati blends strictly formal and classical choreography with free-form contemporary dance. Like Israel itself, Kol Demama is a synthesis of east and west, past and present. Recent creations by Efrati include "The Ballad of Gregor and the Ballad of Aryeh" which was first performed at the opening of the Brandenburg Festival of Potsdam in Germany, and later taken on a world tour. The first part of the original arrangement "The Ballad of Gregor" takes inspiration from Franz Kafka's Metamorphosis and creates the effect of an overpowering menace. The second part, "The Ballad of Aryeh," portrays a social misfit who is fond of alcohol. Like all of Kol Demama's performances, the dancing, meant for adults, is so lively, expressive and colorful that it is also suitable for children. Efrati's choreographic creations frequently draw from modern literature. One dance, "Mixed Media on the Stage," is inspired by Samuel Beckett's surrealism. Other sources include the Old Testament and the Jewish poets of Spain during the Muslim era. Kol Demama frequently dances to works of classical composers such as Dmitri Shostakovitch's "He That Walketh Uprightly" and Frederic Chopin's "1+3+3." One of Kol Demama's most unusual works is "Textures," in which the vocalizations of the deaf dancers are used as a sound to create a musical lead for the hearing dancers. In Kol Demama, Efrati has taken the great traditions of contemporary dance in Israel, and added the innovative dimension of combining deaf and hearing dancers. This artistic achievement also serves as a source of hope and inspiration to people with disabilities around the world. Moshe Efrati (Hebrew: משה אפרתי) is an Israeli choreographer, and founder and artistic director of the Kol Demama Dance Company based in Tel Aviv. His works have been performed in prime venues around the world.Efrati worked with the former president of Israel Yitzhak Navon, setting his words to dance with music, for Israel’s 1982 celebration of the 25th anniversary of the retaking of Jerusalem. Kol Demema means sound silence in Hebrew. The company is notable as including hearing impaired dancers Awards In 1996, Efrati was awarded the Israel Prize, for stage arts - dance Kol Demama Efrati began working with deaf dancers in 1967, then formed Kol Demama, integrating ten dancers hearing impairment together with and ten dancers without. Efrati cues the hearing impaired dancers by pounding a board on the floor or a dancer stomping on the floor, creating a vibration that can be picked up by the dancers feet, similar to theories of an elephant hearing via vibrations perceived through its feet. Nijinsky is said to have used this method to cue his dancers for Stravinskys The Rite of Spring, as the rhythms were too complex for Nijinsky’s dancers to follow. The dancers also get their cues from the vibration of bass notes in the music, eye contact, touch, movement of others, and lighting cues, all woven into the choreography. Kol Demama has a Tel Aviv school for dancers, teaching several hundred young dancers each year. Efrati intends Kol Demama to be judged on artistic grounds, "I am neither a social worker nor therapist, I am a dance creator." Style Efrati was an original member of the Batsheva Dance company founded with Martha Graham’s assistance by the Baroness Bethsabee de Rothschild. Efrati blends strictly formal and classical ballet choreographic vocabulary with free-form contemporary dance. He draws inspiration from diverse influences ranging from Kafka’s Metamorphosis and Samuel Beckett’s surrealism to the Old Testament and Jewish poets of Muslim Spain His dance is set to music ranging from traditional early Spanish rhythms to contemporary electronic music.. Critical acclaim "This is what true choreography is all about” – New York Times.