Mark has served as Cantor of Congregation B’nai B’rith in Santa Barbara, CA since 1991. He performs regularly in the Southern California area and beyond in both his own solo program and as soloist with major music groups. He has served on local boards and is music director of the Interfaith Thanksgiving Service and a past honoree of the ADL”s “Distinguished Community Service.” He lives in Santa Barbara with his wife Shari, and they have two sons.
If the pictures didn’t exist, I’m not sure I’d believe it. See Blog #3 [1] for the genesis of my involvement in “Let My People Go.” Through high school and college in SoCal (U.C. San Diego), I had plenty of stage experience and even learned a few tap steps along the way. But when JoAnne invited me, a cantor-in-training, to collaborate on this project, I felt like I was thrown in the “deep end.” Not only was this a professional modern dance company (we did get paid!), but the scope of this project was so foreign and beyond my comfort zone that I couldn’t imagine saying “yes.”
Here’s what I loved…
- JoAnne was so darned positive and encouraging and valuing of any and all ideas. She laughed constantly with delight and defied every stereotype I had of New York choreographers.
- Every company member was down-to-earth, friendly, nurturing, eager, and TALENTED.
- I inherited Rabbi Rick Jacobs’ costume/pajamas.
In the costume/pajamas. Photo by Tom Brazil. - Being able to rehearse in the Henry Street Settlement House had a tremendous impact on me. Its history as part of the story of Jewish immigration through New York City has a lot of power in my heart.
Rehearsing at Henry St. with Deborah Hanna and Loretta Abbott. Photo by Tom Brazil.
- No one in my cantorial class was doing anything close to this. I constantly bragged “Yes…I’m a member of a professional NYC dance company.”
- Collaborating with African-American dancers, a percussionist, and a choreographer was a tremendous growth experience for me.
- The source material for the piece was profound.
- The opportunity to travel and visit communities that I would otherwise never visit was priceless.
- Louis Johnson didn’t seem to care that I didn’t expect to dance, and he laughed when I tried to resist.
Here’s what I didn’t enjoy…
- Louis Johnson didn’t seem to care that I didn’t expect to dance, and he laughed when I tried to resist.
In Conclusion
Some audiences were captivated (I’m thinking Brooklyn), some snickered (I don’t remember that high school’s location). There were lovely receptions and interesting people wherever we went. While at K.A.M. Isaiah in Chicago, I was privileged to meet the great composer Max Janowski.
“Let My People Go” was an important piece. I’m gratified beyond measure that it survived and thrived after my departure with subsequent company members and cantors. I feel a strong bond with Avodah and others who were associated with “Let Me People Go.” These types of collaboration are needed more than ever now.
Note from JoAnne: Thank you so much Mark for doing our very first guest blog. And yes we especially need more of these collaborations NOW!! If you have been reading MostlyDance and want to do a guest blog please send me an email and have your voice heard!
Recent Blogs
- The Pioneers of Modern Dance: My Firsthand Experience [2]
- A Visit to a Costa Rican Art Museum Triggers a Fascination with Mascaradas [3]
- Thoughts after Streaming a Memorial for Dance Critic Jack Anderson [4]
- Keeping Up With What is Happening in the Dance World [5]
- A Sijo Poem for the Winter Solstice [6]
- Episode 33: The Universal Dancer Podcast – I’m Interviewed by Leslie Zehr [7]
- The National Symphony of Costa Rica [8]
- Can you go home again? [9]
- Odd Thing to Find on eBay [10]
- Chopping in the Kitchen [11]