In Defense of the Rikudiah
Exceedingly proud of our accomplishments and irritated by anyone who dared to question our efforts, I wrote this last week, after the camp dance staff put on what I considered an unusually successful Israeli folk dance festival.
As it turned out, the "But where were the Israeli folk dances?" doubter wasn't at the top of the camp administrative hierarchy, so I didn't end up showing this to its intended audience. But I had to share with someone.
In Defense of the Rikudiah
On July 21st, the day following what much of camp (given the compliments we received) considered an entertaining, innovative, thematically sound and even thought-provoking Rikudiah, I was informed that the administration had approached Lisa, our Rosh, with a simple question.
No, it wasn’t, “How many long days and late nights did those Rikud kids put in to produce such an extensive program, arranging for an overprogrammed camp to rehearse eighteen dances, not to mention staging choreography that instilled even in recalcitrant campers and staff the urge to learn and perform their parts?” nor even, “Who here thought Alex was going to spend the whole Rikudiah with his shirt on anyway?” The question was, “Where were the Israeli dances?”
As far as I knew, we had just presented an evening brimming with them. Not only did our Rikudiah address the broader, more contemporary definition of Israeli folk dance performed by dancers in Israel, the United States and elsewhere around the world; it worked to restore the sullied reputation incurred by Israeli dancing at our camp.
The Israeli folk dancing repertoire includes hundreds of dances composed in the genre’s early decades. In the years since the birth of Tzevet Rikud, Israeli folk dance has continued to flourish and mature, producing more complex dances to contemporary songs - in lines, in partners, and in circles - and most notably, increasingly complicated and reliant on an assumed familiarity with the Israeli dance movement vocabulary, making many newer dances difficult to teach to non-dancers.
When a Rikud teacher requires a simple dance for a large group, the older category of “classic” dances often proves a more helpful resource, contributing to the unfortunate misapprehension that all Israeli folk dances are old, dull, and strictly for geezers.
The dance scene in Israel, including its modern and hip-hop dance movements (which camp hired Alex and Talor to represent) has grown into a vital international force. It was in this spirit that we strove to let our Rikudiah showcase all that Israel has to offer. We took our viewers not only on a geographic tour of Israel, but on a journey through its dance communities as well.
The Rikudiah saluted the older generation of Israeli dances (see the Hanhallah and Morim dances) and Israeli children’s line dances (Cochavim). It presented contemporary Israeli folk dances modified to be more accessible (Mumchim, Mayim/Sport/Al Hagovah, Solelim) as well as more dramatically expressive and message-oriented (Tzeirim, and the Stomp/Mayumana ecologically-themed presentation by Shorashim). It included opportunities for Alex and Talor to compose for the areas of dance in which they have the most to offer (Bogrim, Machon, Gesher, Mishlachat), as well as for campers and returning staff to make their own presences known (Gesher Girls, Gesher 2006).
We were told that we had “pushed the envelope” this year, opting for challenging choreography over conciliatory simplified line dances, and moving our audience in what they found a welcome and exciting change. For those still curious as to where all the Israeli dances have gone, I invite you to peruse the list below. Very few of these were composed entirely independently of the standard repertory of Israeli folk dances, and only the kitchen staff dance used a non-Israeli song.
Rikudiah 2009 (In order of Edah):
1. Cochavim - Hagalshan: Existing Israeli line dance (choreography by Levi Bar Gil).
2. Nitzanim - Mamri’im: Music taken from existing Israeli dance (chor. Rafi Ziv), substituted with original choreography by Talor.
3. Shorashim - Debka Kafrit: Existing Israeli circle dance (chor. Yankele Levy), with additional choreography and stage direction by Talor to incorporate Stomp/Mayumana feel and ecological message, with choreography assistance by Alex.
4. Tzeirim - Cha Cha: Existing Israeli line dance (chor. Carina Saslavsky) with substituted music (the original song was in Spanish; we replaced it with an instrumental song by an Israeli band) and additional staging by Talor and Michal.
5. Solelim - Banu Leha’ir Ta’Ir: Existing Israeli circle dance (chor. Victor Gabay), adapted into lines and with additional choreography and staging by Alex.
6. Bogrim - Tzel Midbar: Music taken from existing Israeli circle dance (chor. Bonny Piha), substituted with original modern choreography by Alex.
7. Machon - Digital Monkey: Music by Israeli band Balkan Beat Box, with original hip-hop choreography by Talor.
8. Gesher - Rikud Romanti: Music by Israeli artist Ishai Levi, with original modern choreography by Alex.
9. Gesher Girls - Mei Nahar: Music by Israeli artist Idan Raichel, with original choreography by Gesher camper Maya.
10. Gan and Chaverim - Yesh Li Rakevet: Music taken from existing Israeli dance, substituted with original staging by Michal and Talor.
11. Kitchen Staff - Original Irish-style dance choreographed by members of the kitchen staff.
12. Hanhallah - Le’orech Hatayelet: Existing Israeli circle dance (chor. Chanan Dadon).
13. Mumchim - BMW Shchora: Existing Israeli circle dance (chor. Yossi Perez), modified by Michal.
14. Mayim, Sport, Al Hagovah - Eretz Chadasha: Existing Israeli partner dance (chor. Gadi Bitton), modified by Michal.
15. Morim - Erev Tov: Existing Israeli dance (chor. Amnon Shauli).
16. Mishlachat - Tizaher Mimenah: Music taken from existing Israeli dance (chor. Lior David), substituted with original choreography by Talor.
17. Modern Dance - Echad Mi Yodea: Adaptation and staging by Alex of existing modern dance repertory piece performed by the Batsheva Dance Company (chor. Ohad Naharin).
(Note: This song is also the subject of an Israeli circle dance by Gadi Bitton.)
18. Gesher 2006 - Ahavat Yisrael Baneshamah: Music by Israeli band Reva L’Sheva, with choreography by Tzevet Rikud 2006 and restaged by Gesher 2006.
19. Skits by Michal and Talor, with performances and writing assistance from Tzevet Agam members Tal and Oren, and Machon campers Naomi, Sophie, Milk, and Jon.
As it turned out, the "But where were the Israeli folk dances?" doubter wasn't at the top of the camp administrative hierarchy, so I didn't end up showing this to its intended audience. But I had to share with someone.
In Defense of the Rikudiah
On July 21st, the day following what much of camp (given the compliments we received) considered an entertaining, innovative, thematically sound and even thought-provoking Rikudiah, I was informed that the administration had approached Lisa, our Rosh, with a simple question.
No, it wasn’t, “How many long days and late nights did those Rikud kids put in to produce such an extensive program, arranging for an overprogrammed camp to rehearse eighteen dances, not to mention staging choreography that instilled even in recalcitrant campers and staff the urge to learn and perform their parts?” nor even, “Who here thought Alex was going to spend the whole Rikudiah with his shirt on anyway?” The question was, “Where were the Israeli dances?”
As far as I knew, we had just presented an evening brimming with them. Not only did our Rikudiah address the broader, more contemporary definition of Israeli folk dance performed by dancers in Israel, the United States and elsewhere around the world; it worked to restore the sullied reputation incurred by Israeli dancing at our camp.
The Israeli folk dancing repertoire includes hundreds of dances composed in the genre’s early decades. In the years since the birth of Tzevet Rikud, Israeli folk dance has continued to flourish and mature, producing more complex dances to contemporary songs - in lines, in partners, and in circles - and most notably, increasingly complicated and reliant on an assumed familiarity with the Israeli dance movement vocabulary, making many newer dances difficult to teach to non-dancers.
When a Rikud teacher requires a simple dance for a large group, the older category of “classic” dances often proves a more helpful resource, contributing to the unfortunate misapprehension that all Israeli folk dances are old, dull, and strictly for geezers.
The dance scene in Israel, including its modern and hip-hop dance movements (which camp hired Alex and Talor to represent) has grown into a vital international force. It was in this spirit that we strove to let our Rikudiah showcase all that Israel has to offer. We took our viewers not only on a geographic tour of Israel, but on a journey through its dance communities as well.
The Rikudiah saluted the older generation of Israeli dances (see the Hanhallah and Morim dances) and Israeli children’s line dances (Cochavim). It presented contemporary Israeli folk dances modified to be more accessible (Mumchim, Mayim/Sport/Al Hagovah, Solelim) as well as more dramatically expressive and message-oriented (Tzeirim, and the Stomp/Mayumana ecologically-themed presentation by Shorashim). It included opportunities for Alex and Talor to compose for the areas of dance in which they have the most to offer (Bogrim, Machon, Gesher, Mishlachat), as well as for campers and returning staff to make their own presences known (Gesher Girls, Gesher 2006).
We were told that we had “pushed the envelope” this year, opting for challenging choreography over conciliatory simplified line dances, and moving our audience in what they found a welcome and exciting change. For those still curious as to where all the Israeli dances have gone, I invite you to peruse the list below. Very few of these were composed entirely independently of the standard repertory of Israeli folk dances, and only the kitchen staff dance used a non-Israeli song.
Rikudiah 2009 (In order of Edah):
1. Cochavim - Hagalshan: Existing Israeli line dance (choreography by Levi Bar Gil).
2. Nitzanim - Mamri’im: Music taken from existing Israeli dance (chor. Rafi Ziv), substituted with original choreography by Talor.
3. Shorashim - Debka Kafrit: Existing Israeli circle dance (chor. Yankele Levy), with additional choreography and stage direction by Talor to incorporate Stomp/Mayumana feel and ecological message, with choreography assistance by Alex.
4. Tzeirim - Cha Cha: Existing Israeli line dance (chor. Carina Saslavsky) with substituted music (the original song was in Spanish; we replaced it with an instrumental song by an Israeli band) and additional staging by Talor and Michal.
5. Solelim - Banu Leha’ir Ta’Ir: Existing Israeli circle dance (chor. Victor Gabay), adapted into lines and with additional choreography and staging by Alex.
6. Bogrim - Tzel Midbar: Music taken from existing Israeli circle dance (chor. Bonny Piha), substituted with original modern choreography by Alex.
7. Machon - Digital Monkey: Music by Israeli band Balkan Beat Box, with original hip-hop choreography by Talor.
8. Gesher - Rikud Romanti: Music by Israeli artist Ishai Levi, with original modern choreography by Alex.
9. Gesher Girls - Mei Nahar: Music by Israeli artist Idan Raichel, with original choreography by Gesher camper Maya.
10. Gan and Chaverim - Yesh Li Rakevet: Music taken from existing Israeli dance, substituted with original staging by Michal and Talor.
11. Kitchen Staff - Original Irish-style dance choreographed by members of the kitchen staff.
12. Hanhallah - Le’orech Hatayelet: Existing Israeli circle dance (chor. Chanan Dadon).
13. Mumchim - BMW Shchora: Existing Israeli circle dance (chor. Yossi Perez), modified by Michal.
14. Mayim, Sport, Al Hagovah - Eretz Chadasha: Existing Israeli partner dance (chor. Gadi Bitton), modified by Michal.
15. Morim - Erev Tov: Existing Israeli dance (chor. Amnon Shauli).
16. Mishlachat - Tizaher Mimenah: Music taken from existing Israeli dance (chor. Lior David), substituted with original choreography by Talor.
17. Modern Dance - Echad Mi Yodea: Adaptation and staging by Alex of existing modern dance repertory piece performed by the Batsheva Dance Company (chor. Ohad Naharin).
(Note: This song is also the subject of an Israeli circle dance by Gadi Bitton.)
18. Gesher 2006 - Ahavat Yisrael Baneshamah: Music by Israeli band Reva L’Sheva, with choreography by Tzevet Rikud 2006 and restaged by Gesher 2006.
19. Skits by Michal and Talor, with performances and writing assistance from Tzevet Agam members Tal and Oren, and Machon campers Naomi, Sophie, Milk, and Jon.