Choreography and Movement Studies
At the Adama School in Sderot
Certificate studies in a two-year track plus one-year residency
The coming year will open from November 2019 to June 2020
The full route – 3/4 days a week
Healing route – one day of the week
For details call 0545294246 or email [email protected]
As part of a recovery process, we observed the "weaknesses" and began making a significant change in the route. The first change was demographic – we chose to leave the center, which on the face of it is the bastion of art, to the parts of the country called 'Periphery'. It is difficult to describe the intensity of the change, the change in the physical ground, undermined all the laws in which we followed for years, we had to create a physical and mental basis on entirely new foundations. Our initial coping was – the present time. The essential question for us was how the present becomes an empowering tool within the dance movement and not a means that destroys, exhausts, melancholies. When we wanted to connect the visible movement to the present, we turned to the invisible movement, it was the beginning of the healing process. We began to examine the movement of "performance" and it swept us in its consistent, devoted, patient way to the human movement.
Going back to primary sources, where performance and every person meets, was like a plunging to the source, pure. We began to explore the correlation between the physical, the mental, and the intellectual.
The move to Sderot and the opening the “Sderot Adama” center is based on the law of the healing that is at the basis of our work – the promise not to hold onto things and allow for liberation to exist as a way of healing.
The promise to quietly accept the endless changes that occur at any given moment within us, as well as in the physical and visible changes. The city of Sderot connects healing with demography, perhaps like the healing of demography.
Empower the ground on which you operate and empower our personal ability through shared understanding. It seems that here in the center of the movement in Sderot, begins a new and fascinating chapter. Broadly speaking, we call it the "movement of consciousness".
The present, the presence, connects us to the cyclical movement in which the whole and the fractional are present in all the time. Side by side, the dark and the light are constantly changing the movement of the circle. With the belief that when something does not take over, or oppress, a practical skill of action and creativity begins to grow.
The question that often arises is whether we want change. How do we distinguish between shred and control? Are we flexible enough to learn and recognize and act accordingly?
With what we have, sometimes, there is less skill
The dynamic movement, the energetic change, is at the basis of the "movement of consciousness". The essence of life is flow and we must be awake, silent, watching without being swept away by a flood or withering in drought.
In the world of dance there is a complete separation between lessons and learning directed at the performance/skill and lessons and learning aimed at empowering the soul, it seems today that this separation is realized in almost all areas, if not all. The question of the strong and the weak, the loud and the quiet, the strength and the softness, the clarity and the confusion, the assembly and diffusion, all of which, when separated from one another can create a pit, and when they coexist, they create an reality, create a present.
The movement of consciousness
The basis of the system is a heterogeneous world view, one that believes that the difference brings abundance and wellbeing. Sometimes we cling to the similar, out of a sense of belonging and identity, the other similar to us gives us the reflection, so we see ourselves before us. But each and every one of us does not have one identity. We have a space of 'I', the ability to allow ourselves to recognize, to learn, to love the difference within us, is our ability to know, to learn, to love the difference in space around us.
In the physical body, in our thoughts, and in the soul there are different qualities, sometimes it is the strongest, that takes over, it is the one that sets the tone and in a certain way creates who we are, by agreeing to see and touch those hidden qualities, those in shadow, we can open the door to mutuality. To expand the gaze and see, I am one tree, unique and individual, and there is still a forest around me. The movement of consciousness relates both to contemplation and to the force that erupts, both with compassion and power. We give ourselves the option of forgetting and allowing, as well as remembering, not as contradictory things but as complementary qualities. It is a practice that does not founded in resistance, from a desire to overcome something, but from a practice that gives us the ability to act with the driving force within us.
The teaching method will be led by staff, cooperation and mutuality between teachers is key to learning
Found Dance/Andre Lafki
"Choreography is emerging as a particularly effective technology for the increase and union of modern melancholy, whose drive is to determine the absence of presence, to "re-connect" the dancer with those who have already died from the world. The birth of choreography is related to the perception of the connection between a moving body and temporality as a connection always and from the outset to influence the melancholy enchantment – once the Kinetic is a model of modernity, nothing guarantees the eternity of being.
This perception demonstrates the study of critical dance on the Western stage – once you have delimited yourself in more and more abstract rooms (the court, the living room, the theater hall, the dance studio) out of a desire to achieve artistic autonomy – you must theoretically treat not only as a kinetic but also as an affective, … so that the dance is always unrestricted, that it is incorrigibly entangled in its own loss, that it is never really in the fleeting moment of its visible movement"
"… While the choreography involves an ontological (A philosophical approach that deals with the nature of what exists) complaints about the inability of dance to remain with us, is it possible that a similar situation exists today?
Marsha Segal writes: The dance exists as a permanent vanishing point. It disappeared at the moment of creation.
All the years of dancer's training in the studio, all the choreography, the rehearsals, the coordination between the designers, the composers and the technicians, the fundraising and the crowd of audience are nothing but preparation for an event that disappeared in the very act of its realization. No other art is so difficult to document, so impossible to preserve. All the years of the dancer's training, the training of their body and their mind for the fleeting moment of dance, are nothing more than the adoption of a sacrificial subject, the creation of a special way of being – In a world that amounts to nothing but a lifetime of rehearsals and performances of an endless chain of burials in life. It is as though the existence at the Vanishing Point turns years of training, study, creation and dance into years of constant anticipation of grief and melancholy. Under these conditions, the dancer is always and from the outset a missing presence in the blind spot, suspended between body and ghost, a delayed flash between the past and the future …. Siegel argues that the inability of to record dance, its inability to achieve timeliness and the density of continuous material, blocks its inclusion in the economy:
"Precisely because it does not give itself up to any form of reproduction, it was the only art that was not distributed to comfortable packages and distributed in the mass market … Dance does not agree to recycle, But I would like to argue that the lack of devotion to reproduction does not extract from the hegemonic forces and the ontological violence that belong to the representative, the soiled representation.
That it is precisely the self-description of dance as a temporary and unfortunate form of art, the melancholic impulse in its heart that produces work and performances of increased reproduction:
Metaphorical techniques, called after dead masters and applied to carefully selected bodies, in the ongoing design of bodies through an endless repetition of practice, nutrition, surgery, perpetuation of racial exclusion systems seemingly "proper"…”
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