JoAnne Tucker shares her experiences in dance from directly a modern dance company to leading movement activities for women in prison and domestic violence survivors.
JoAnne: Today is International Women’s Day and I am pleased to welcome Guest Blogger Georgellen Burnett to Mostly Dance. I met Georgellen when she signed up to volunteer for Healing Voices – Personal Stories, the film company I founded to increase social awareness of domestic violence. A survivor/thriver of domestic violence she has been very active in publicizing Healing Voices and raising money in our local community of Santa Fe.
Georgellen Burnett is a native New Mexican and a women’s historian. She devotes her time to women’s history, women’s political advocacy, and domestic violence issues. You can reach Georgellen by email at: georgellen.burnett@comcast.net
Georgellen’s Blog
On March 1, 2019, Governor Michelle Lujan-Grisham and Mayor Alan Webber issued proclamations designating March as Women’s History Month in New Mexico and Santa Fe. President Donald J. Trump also issued a proclamation designating March as Women’s History Month in the United States.
Santa Fe NOW and the New Mexico League of Women Voters are collaborating on a celebration for 2020 of the 100thAnniversary of the Passage of the Nineteenth Amendment in 1920 in which women achieved the vote.
In 1977, when the women who would establish the National Women’s History Alliance began planning a women’s history week, March 8th, International Women’s Day, was chosen as the focal date.
The selection was based on wanting to ensure that the celebration of women’s history would include a multicultural perspective, an international connection between and among all women, and the recognition of women as significant in the paid workforce.
United States women’s history became the primary focus of the curriculum and resources developed. At that time, there were no school districts in the country teaching women’s history. The goal, although it most often seemed a dream, was to first impact the local schools, then the nation, and finally the world. It is a dream that is becoming a reality.
Women’s History Week, always the week that included March 8th, became National Women’s History Week in 1981 and in 1987 National Women’s History Week became National Women’s History Month. The expansion from local to national and from week to month was the result of a lobbying effort that included hundreds of individuals and dozens of women’s, educational, and historical organizations. It was an effort mobilized and spearheaded by the National Women’s History Alliance.
National Women’s History Month is now recognized throughout the world. Women from Germany, China, Saudi Arabia, Canada, Japan, Russia, the Ukraine, and diverse African nations have visited the National Women’s History Alliance’s office or attended their events. One result from this contact has been the establishment of a women’s history program and museum in the Ukraine. In 1989, The National Women’s History Alliance accepted an invitation from the government of Spain to address an international women’s conference on the importance of women’s history and the impact of National Women’s History Month. In 2001 a sistership with the Working Women’s Institute of Japan was established resulting in the National Women’s History’s posters and display sets being featured in the organizations first exhibit.
The National Women’s History Alliance’s websitereaches the global community. They receive emails from individuals throughout the world. Each year hundreds of National Women’s History Month posters are distributed to military bases and Department of Defense schools throughout the world for special programs and events that celebrate and recognize women’s accomplishments. It is the hope of the National Women’s History Alliance that the celebrations at these different venues will ignite a sense of celebration and recognition that honors women of all nations.
Thirty-one years ago. That is when this piece received its first performance,in a concertsponsored by the Corpus Christi Jewish Community Council in Texas. Sisters was a collaboration between Cantor Meredith Stone and myself. Meredith’s brother Rabbi Warren Stone was a rabbi at a Reform congregation in Texas and he arranged the performance in Corpus Christi. Before I write about the specifics of the piece I want to say how grateful I am that I kept scrapbooks on Avodah. Not only do I have ten scrapbooks of Avodah history but also videotapes from many performances, and some of them include my narration which gives me an idea of what was important to me at the time. For a few pieces I even have a file with notes and musical scores. For Sisters,a piece about the Biblical sister wives, Rachel and Leah, I have a file, a video of the piece in November 1988 with my narration and another video in 1995 with some different performers and again my introduction to the piece. I could not write these blogs without having these materials to refresh my memory.
Of the many pieces I choreographed over the 34 years I was artistic director of Avodah, this one was unusually meaningful to me. In watching it again I am also particularly fond of the choreography. One of the main reasons I began Avodah and continued particularly in the later 70’s and on was to find the woman’s voice in the Torah, particularly the five books. The importance of these five books (Genesis, Exodus, etc.) resonated strongly with me as a portion is read each Shabbat and by the end of the Jewish year the five books have been completely read. The patriarchal tone is so strong that I found myself consistently looking for the female voices.
I was not alone. The 1980’s was a time when there was a lot of feminist writing, art, dance and theatre happening in religious spheres. The first female rabbi, Rabbi Sally Priesand,had been ordained in 1972 by Hebrew Union College. Earlier in 1935 Regina Jones had received semicha (ordination) by a liberal rabbi in Berlin. She had found work as a chaplain. Remaining in Germany she died in Auschwitz in October of 1944 at the age of 42. By the 1980’s Rabbi Sally Priesand had her own congregation in Tinton Falls, NJ having first been an Assistant and Associate Rabbi at Stephen Wise Synagogue in Manhattan, which she left when she realized she would never become their Senior Rabbi. After a few years she became the Rabbi for Monmouth Reform Temple and was there until she retired in 2006. I always felt a strong emotion on the several occasions when we performed at Monmouth Reform Temple, aware of the strong pioneering efforts it took her to be the first!
In writing about Sisters, I want to set the scene for the kind of energy that was going on among many women in religious communities at this time. New feminist prayers were being written. The first women-only Passover Seder was held in 1976 co-hosted by Esther M. Broner and Phyllis Chesler and attended by 13 women including Gloria Steinem and Letty Cottin Pogrebin. By 1988 Feminist Passover Seders were gaining popularity and it was in 1988 that Debbie Friedman wrote Miriam’s Songand introduced it at a NYC Seder where the women grabbed tambourines and filled the room with dance.
Rosh Chodesh groups had begun to form in the 1970’s. While reference to the woman’s role in Rosh Chodesh (the holiday celebrating each new moon) goes all the way back to Talmudic times, women centered groups were gaining popularity throughout the United States in the 1980’s
As I began to focus on creating Sisters on the story of Rachel and Leah I was aware of this new energy and wanted to capture it in this new piece. I found the perfect collaborator in Cantor Meredith Stone. We played with ideas for the piece for well over a year.
Susan Freeman, a rabbinic student at HUC-JIR, had also recently joined the company which meant she would also be able to recite prayers in Hebrew as accompaniment or counterpoint to Meredith’s chanting and singing.
As I watched both videos of the piece I was struck at how well developed the choreography was in each section. Meredith and I had clearly defined each section. The choreography for each part had a distinctiveness and unique phrases that were developed. At the same time I felt the piece held together as a whole.
The piece opens by setting the retelling of the story of the sister wives as if it is happening in the midst of a Rosh Chodesh ceremony. The movements for this section are very circular and inspired by the shape of the new moon. Meredith is humming a vocalization by composer Ron Nelson while Susan is chanting the Rosh Chodesh prayer from the Reform Gates of Prayerbook while she circles the three dancers in the center who are doing very circular and lyrical movement.
As the music builds and the moon-like movement begins to fade, Susan and the dancer from the center who won’t be portraying one of the sisters begin wrapping the other two dancers with an imaginary thread.
From the beginning of Sisters.Beth Bardin standing and Susan Freeman on the ground. Photo by Stanley Seligson.
In the 1995 video I shared with the audience that this section was inspired by the idea that red threads are given out at Rachel’s Tomb located at the northern entrance to Bethlehem. Several years earlier I had been to the Tomb and gotten my red thread which I tied on my wrist and wore for quite a while.
Custom says that getting a red thread at Rachel’s Tomb goes back about 150 years. Usually the small length of thread which is just enough to tie around one’s wrist comes from a much longer red thread that had been wound around the Tomb several times. It is thought that the thread can protect a person.
While the wrapping has been going on Meredith has been singing Roitman’s Rachel Weeps for Her Children, a very strong and moving piece. Susan also starts reciting a poem:
And the children struggled together Two nations One stronger than the other The elder… the younger Brothers sisters
Meredith joins her saying the word “sisters.”
The scene is now set for totally focusing on Rachel and Leah. They perform a lyrical, gentle duet with a lively and playful middle section accompanied by a piece of Bartok which Meredith played on a recorder. Chanting continues telling the story of Leah and Rachel.
From l to r: Kezia Gleckman Hayman as Rachel, Deborah Hanna as Leah accompanied by Cantor Meredith Stone on the recorder. Photo by Stanley Seligson.
There is a traditional midrash that says Rachel and Jacob had a secret sign, and that Rachel shared that sign with Leah so that Jacob could be deceived by having the older sister Leah under the wedding veil instead of his beloved Rachel. The secret sign was for Rachel to touch her toe, thumb and ear. This provided wonderful inspiration for movement with Rachel demonstrating the three gestures to Leah and then Leah following through with them in a short solo showing some of her anxiety.
Strong diagonal crosses have always been a favorite of mine and are used in the piece as Susan recites, to Meredith’s drumming, the names of “the children they bore.” Coming from opposite corners the two dancers come into the center and then circle around each other. This is repeated several times until they are in the center and Benjamin’s name is repeated over and over as Kezia portraying Rachel is falling to the ground, using a traditional Graham contraction and ending in stillness to capture the idea that Rachel died during the childbirth of Benjamin.
I remember having a hard time finding an ending to the piece. I asked Deborah playing Leah to reach out and touch Rachel’s hair. Kezia instinctively slowly sat up. As if brought back to life, Rachel then rises and the other two dancers join the group with the Bartok melody coming back as well as some movement from the earlier duet as the following poem by the Israeli poet Rachel is recited:
Her blood is flowing in my veins And in my song is heard another The shepherdess of Laban’s sheep, Rachel our mother
The very first time I saw a full dance run-through of the piece with the ending, I knew that it worked and I also felt an overwhelming emotion. In fact I excused myself from the room and spent several minutes alone in the hallway. I realized how personal the piece was to me. My youngest sister Suzanne at age 26 had committed suicide and the gesture of Leah bringing Rachel back to life was what I wished I could have done. While that had happened about ten years before, the pain of losing her was still present.
Kezia and Deborah played a strong role in creating the parts of Rachel and Leah and their performances were filled with intensity along with beautiful dancing. Susan brought her rabbinic studies into the dance studio chanting prayers, poetry and the names of the children along with her dancing. When Susan left the company, Beth Millstein brought excellent Hebrew chanting skills to the company and was able to easily take on Susan’s role. Elizabeth took over Deborah’s role as Leah when Deborah moved on. The part of Rachel was only danced by Kezia, always with such beauty and tenderness.
Hebrew Union College liked to coordinate programs and exhibits in the Joseph Gallery on the first floor. While the first performances of Sistersoccurred in the spring of 1988 in Corpus Christi and then in Dallas, the first performance in New York City was at HUC in November as part of a series of programs related to an exhibit of the sculptor Chaim Gross. In the photo below, we were honored to welcome one of the sculptures into the dance company temporarily.
From l to r: Cantor Meredith Stone, Deborah Hanna, Beth Bardin and Kezia Gleckman Hayman dancing with a Chaim Gross sculpture. Photo by Stanley Seligson.
As Avodah began to get more concert bookings I thought it would be fun to add some humor to our very serious repertory based on liturgy, biblical stories and Holocaust poetry. So in the spring of 1980 I added two new pieces inspired by weddings. One of those pieces, Three Brides and a Cow, inspired by French Painter Marc Chagall, was short-lived in the repertory. Both the music by Irving Fleet and my choreography were not up to their usual standards. The costumes, however, created by Tallahassee artist Stuart Riodan, were outstanding.
The second piece, Mother of the Bride, did work and stayed in the repertory for quite a few years. Our daughter Julie had had her Bat Mitzvah recently and that had influenced the piece as I saw how much planning can go into an event and how easy it could be to forget about the significance of the moment and in a frenzy just get caught up in all the details. So in Mother of the Bride I took things to the extreme, focusing on a mother taking on an extremely strong role.
A review in 1983 in the Montgomery, AL paper describes it wonderfully:
Mother of the Bride was a very funny piece with Ms. Mindlin as the harried mother trying to organize her daughter’s wedding. The other characters were Ms Behrendt as the bewildered bride standing in roller skates as activity swirled around her and Ms. Rodin as a bridesmaid. The mother literally rolled the bride off stage to her wedding after she had been dressed in her finery and a bouquet stuffed in her hands.
(Although the bride is on roller skates, she is stuck in one spot throughout the whole piece, unable to move independently, because her mother controls all the action.) The music was Purcell and the mother’s costume actually came from my own closet. A long party dress I had worn was altered to fit the various dancers who played the part of the mother! (Kezia, who often played the part of the mother, notes that when she was married and the organist asked if she wanted the familiar Purcell piece played at the ceremony, she shouted, “NO” and then had to explain her unusually strong reaction.)
A year later I added a piece I called Noshing to fun Klezmer music. It was all about eating and talking. There are quite a few different definitions for the Yiddish word to nosh. They range from eating food enthusiastically or greedily to having a snack between meals. A trio for three dancers, the piece opens with two dancers greeting each other in a rather catty way… looking each other up and down, with one dancer even checking the label in the other dancer’s dress. A third dancer joins them. Soon they are at a buffet table filling their plates with food. One dancer is attempting to resist the temptation of filling her plate with too much food. Three chairs are upstage center. The dancers soon sit down and then alternate between pantomiming eating and talking. These movements usually amuse the audience quite a bit.As Noshing continues we see two dancers busily having a “conversation” in dance highlighted by fancy footwork and then one dancer does a solo conveying a very gossipy tale. It’s a fun piece filled with more balletic steps than usual for me. I found two videos in my Avodah collection and it was great fun to watch a performance in Omaha, NE and another outdoor one in Great Neck, NY – two different casts both successfully and playfully
(l to r) Nancy and Muriel Melacon in the chatty duet in Noshing. Photo by Jim Williams. My apologies to Nancy – and Anita, below – as I can’t remember their last names and don’t seem to have any reviews or programs which help me. (l to r) Nancy and Anita in Noshing. Photo by Jim Williams.
In the fall of 1982, Rick Jacobs suggested doing a piece honoring three Jewish comedians: Woody Allen, Groucho Marx and Lenny Bruce. The choreography was mainly Rick’s, with some suggestions from me. The piece received a preview performance on our January tour to Alabama. In the Woody Allen section, a beautiful female dancer seated in a chair downstage right totally ignores his attempts to flirt. The dancer leaves and Rick pretends the chair becomes the “beautiful lady” and dances with the chair. As the section ends he is on the floor as the dancer returns and for the first time takes notice of him – on the floor, much to his dismay.
Abandoning a sweater and putting on a jacket and nose glasses Rick becomes Groucho. I particularly enjoyed this section with his bold Groucho strides. Soon a dancer portraying Mrs. Dumont enters. They dance together in a sarcastic way and at the end Rick carries her off much like a sack over his shoulder.
Luckily I had a video of these two sections done in a performance at a JCC in New Jersey which helped to refresh my memory. Alas I don’t have any video of the Lenny Bruce section and I don’t remember it performed very often.
With the rest of the repertory being so serious these three comedies added a new dimension and gave the audience a chance to laugh.
This evening as we were getting ready to go out to dinner, Murray said, “Oh by the way the back door of our Rav SUV isn’t closing.” OK, I thought, let me take a look at it.
So… I opened the back door which looked normal except it wasn’t closing tightly and I immediately saw that the latch wasn’t hanging right. Since it was evening and dark… I got out my iPhone, put on the flashlight and saw that one screw had come out of the latch and so it was hanging downward. Murray joined me and we soon found the missing screw. Murray got a screwdriver and in just a few minutes it was back to working perfectly.
The fixed Latch of the car door.
Now Murray was a bit surprised, because he’d figured he would have to take it into a repair shop. While I usually am not solving car problems, this was a no brainer… and Murray was very happy that I had just saved us $85 or more. All I could think was that one benefit of touring and running a dance company is that you learn to quickly problem solve.
Tonight I am remembering those moments of touring which required quick problem solving, and the last-minute challenges of directing a dance company. One example I have already shared — the snow storm that left two dancers performing “Let My People Go” when there should have been a full company of six. In a few hours that day we figured out how to make something work for the evening performance. (See “Let My People Go Meets Let it Snow”.)
Last minute casting changes sometimes happened. Like the time that Beth Millstein got the chicken pox two days before we were due to perform in Boston. Well… I called my good friend Linda Kent and asked if she could recommend one of her students or past students from Juilliard who might fill in and she said SHE was available. Wow that was pretty awesome to have a former member of Alvin Ailey Company and Paul Taylor Company subbing for us.
And then there was the time in the airport when one of the dancers hadn’t arrived at our meeting place and it was getting very close to the time that the plane was due to take off. Hmmm…. Not wanting to have the rest of us miss the flight, I left her ticket with a ticket agent and we all boarded the plane. Just as they were about to close the door, the dancer appeared to a round of applause from us and those sitting near us.
When performing in services, we always worked to get furniture moved from the bema so the dancers could have as much space as possible to move. One day when one rabbi was determinedly saying that a podium couldn’t be moved, Rick and I gently tilted it back, disconnected the wires and moved it over to the side, giving the dancers their needed space. The rabbi wrote a lovely review back to the Jewish Welfare Lecture Bureau that had booked us, saying that “JoAnne Tucker was very pleasant to work with in spite of being persistent.”
At one Friday Sabbath service in Connecticut, the rabbi was certain the best place for us to perform was in an area in the back of the sanctuary and everyone could just look over his or her shoulders to see us. Now that was by far the oddest suggestion I had ever heard and there was no way I could agree to that. For several hours we went back and forth… meanwhile I simply told the dancers to work on their spacing on the bema. Finally I quoted scripture – Exodus 40:30-32 about levels of sacred space and remembered something we had written in Torah in Motion. I convinced him that it would be all right for the dancers to be on the bema because they would not be going up to the ark where the Torah scrolls were kept. That space was just for him! Success! We danced on the bema!
So many times, I entered a space in the early afternoon and had to make decisions of where I would run the sound, set it up, and make sure it worked. How many times dancers had to quickly adapt to a new space, making it their own and performing brilliantly. And then when we were in a theatre, I had to quickly learn the lighting system. Larger companies carried tech people. We didn’t. While I rarely ran the lights, I had to learn how to communicate with the light person and sometimes a sound person to be able to call the cues. Then I would call my own cue and walk into the spotlight to narrate between pieces.
So… what I learned from running a dance company was to be flexible. Problems can be solved by stopping, taking in the situation, and then seeing the possible solutions. This training has served me very well in life and fixing our car door tonight was a small example.
In 2003 when my husband and I were thinking about moving from the New York area and I was becoming aware that I no longer had new goals for the dance company, I treated myself to classes at The Art Students League on 57thStreet. Later I’ll write more about my beginning studies in art. I knew it would be important to keep creative energy going in my life. Today I am excited to share how dance and art came together. Just a few weeks ago (on Saturday, January 12th), I led a movement workshop at the Community Art Gallery here in Santa Fe. It came about as a result of having a painting in the show “Exquisite Corpse.” The show was for the 10thanniversary of the gallery, and to be eligible to participate, you had to have been juried into one of their themed exhibitions.
A floral painting of mine had been in an earlier show so I emailed back the form saying I wanted to participate.
The painting that I did for “Viva Flores” in 2013 that made me eligible to participate in the 10thAnniversary Show “Exquisite Corpse.”
The program for the 10thanniversary show describes the intent and motivation:
Exquisite Corpse is an historic parlor game in which participants create one of three components of a figure drawing: head, torso and legs. 130 participating artists created one of those distinct sections. When assembled together, these sections will create an exhibit that unites the disparate parts into singular figures. Each artist’s section is priced individually at $150, and buyers have the opportunity to create their own combinations. ….. What better way to celebrate ten years of building innovative programming hand-in-hand with the community than to have a decade of artists together build a collective work of art.
When I got the return email in the spring, saying that I had gotten the body part of the “head,” I did a big sigh and was glad that I had all summer to work on it. The painting wouldn’t be due at the gallery until the beginning of October. Our instructions were that the piece had to measure 30” wide by 10” high. Well at least that gave me room to put things around the head! I am not good at portrait drawing even though I did do a 5-month program in Santa Fe with the outstanding teacher Anthony Ryder in 2009. In fact it was during those 5 months that Murray and I fell in love with Santa Fe and decided that we wanted to move here and make it our permanent year-round home.
OK… since I was good at flowers I would do a self-portrait surrounding my head with tulips. I had just returned from a spring trip to New York City and had been admiring all the beautiful displays of tulips, particularly in lower Manhattan near where the ferry from Jersey City arrived. Since I was staying in Jersey City and taking the ferry in daily I had lots of opportunity to wander through the display and take photographs.
Slowly over the summer I developed the oil painting, particularly challenged with the self-portrait and loving doing the tulips. I dropped it off at the gallery thinking, “Well at least I completed the assignment even if it wasn’t very good.” They had rescheduled the opening and Murray and I had reservations at Monument Valley, a place we had long wanted to visit, and so we missed the opening.
The view from our room in Monument Valley.
A week later, after returning from Monument Valley, I got an email from the gallery saying my painting had sold. Wow… I was totally surprised. Murray was busy in his office and I went bounding in asking if he wanted to go see the show and go to lunch afterwards. We agreed and I had an hour or so before we would leave. For fun I googled the phrase “Exquisite Corpse” and the most amazing dance interpretation consisting of 42 choreographers, most of whom I was familiar with, came up. (One of the choreographers was former Avodah dancer Sidra Bell.) Each choreographer creates a phrase of about 10 seconds and the next choreographer opens his/her phrase with the last movement of the previous choreographer’s work. The video on You Tube was great fun and extremely well made.
When I got to the gallery I was thrilled with how Rod Lambert, the Community Gallery Manager, had put together the show. He was the one who selected which heads would go with which torsos, and with which feet, and he had done an amazing job. I was thrilled with how my head was arranged with two other pieces.
My self-portrait and how it was arranged with two other pieces in the Exquisite Corpse show.
When I congratulated him on how well the show was displayed, he shared how well the opening had gone, with enthusiasm from both the artists and other attendees. He told us that more paintings were sold at the opening than for any other show. At some point I talked about the video I had seen where 42 choreographers did their version of Exquisite Corpse. Immediately Rod asked me about my background and whether I would be interested in doing a dance workshop related to the show. He always arranged various kinds of workshops around the show and it would be fun to do a dance one since they rarely if ever had done dance. There was a small honorarium for leading the workshop. Of course I said yes and over the next several weeks, via email, we selected a date and I sent in my bio and a brief description of the workshop.
The workshop ended up being quite wonderful. While it was small,with only five participants, each person was totally engaged and brought something special to the group. My friend Regina (a professional storyteller)was one of the participants and she had brought a friend of hers who was also a professional storyteller. Of course at one point in the workshop Regina and I just laughed remembering that we started doing such things together when we were about six years old in her living room. (That’s another blog sometime down the road.) One of the participants was totally deaf. She read lips very well and when she didn’t understand something we wrote on a large piece of paper we had placed on the wall. She had a lovely quality of movement. Two other women came in a few minutes late, one a writer and the other a therapist who had a dance background. They quickly became a part of the group.
We used some warm up improvisational work to lead to the centerpiece of each person creating their own solo. (Since it was a small group and each person was very capable I changed the original plan of small groups creating a dance and instead asked each person to create a solo. That would have been risky with most small groups but not with this one.) I asked them to select a head, a torso and feet from any of the works; the parts did not need to be from the same arrangement. By the way, some of the works were sculptures, like the torso in the piece I was a part of, while others were photographs or paintings in any medium. The choreographers were then to imagine how the head, torso and feet would move with at least 2 movement phrases for each part of the body.
While they were creating their pieces, I put a blanket of percussion instruments out, bringing the energy of my favorite accompanist Newman Taylor Baker into the room. When we gathered back together, each person shared their solo and I accompanied. Then after exploring the instruments, one person selected the instruments they wanted for their solo and another person in the group accompanied them. Each workshop participant also took us to the pieces that had inspired their movements.
The results were super. Before ending we linked the solos together as the 42 choreographers had done, and then we all watched the video I had seen, and which I highly recommend. Here again is the link to watch it.
I left feeling a sense of completeness. Dance and art together shared with five totally present and creative participants!
We were thrilled when our publisher, A.R.E. Publishing Inc., arranged for Avodah to perform and lead a workshop at CAJE, a conference of Jewish educators. Founded in 1976, The Coalition for the Alternatives in Jewish Education held its first conference with about 500 in attendance at Brown University. By the time we appeared at the 15thConference at Ohio State University in Columbus, Ohio there were 2000 in attendance and the name had changed to The Coalition for the Advancement of Jewish Education. The full company of four dancers (Kezia Gleckman Hayman, Deborah Hanna, Susan Freeman and Elizabeth McPherson) participated in a concert that combined a lecture demonstration as well as a performance. When Susan and I were not leading or attending a session we had fun being at the A.R.E. booth and signing copies of our book.
It was very special to have the two owners of A.R.E. so actively involved in promoting our book and I was so glad to find the following two pictures in Avodah’s scrapbook.
Rabbi Ray Zwerin introducing us at CAJE
Audrey Friedman Marcus selling our book at CAJE
Avodah had recently added a new piece to the repertory called Sisters which I will describe in detail in a later blog. For the CAJE conference we used excerpts from the piece as part of the lecture demonstration
From l to r: Elizabeth McPherson, Susan Freeman, Kezia Gleckman Hayman, and Deborah Hanna showing moon shapes from the piece Sisters.
During the performance I could be found sometimes backstage and sometimes at the side of the auditorium running the sound.
The conference built a lot of momentum for Avodah with Jewish educators and we soon found ourselves leading regular sessions in dance midrash, particularly in Reform Congregations throughout the New York area, for the next 12 years. I continued to attend CAJE conferences over the next several years and was often invited to do teacher-training programs in different parts of the country.
Much to our surprise and delight, Torah in Motion: Creating Dance Midrash received quite a few reviews in different publications. In a review in Compass, a publication of the Union of American Hebrew Congregations, Rabbi Nancy Weiner wrote,” What a revolutionary concept it is to blend proud academic analysis with the vibrancy of movement” (Vol. 13, No. 3, Spring– Summer 1991). A review in the Sacred Dance Guild Journal in the Fall of 1990 pointed out that “this book not only contains introductory material to help the reader/teacher get into what it is about, but supplies beginnings for the creative teacher/dancer, on many sections of the Bible.
I found it interesting that the book was finding an audience with dancers in the Christian community. In a publication in 1992 called Phoenix Rising, which celebrated the Arts in Religion and Community, Kay Troxell, who had been active in sacred dance for 20 years, wrote:
Our dances so often reflect the New Testament that we miss the many rich opportunities offered in these books of the Torah (the Christians’ Old Testament). Moving from words to movement can bring a whole new perspective to the original words and this is what Torah in Motion does. The fact that it is designed to be suitable for children as well as adults, dancers, would-be-dancers, and those at all levels of experience, makes this book valuable to persons wanting to find dance in biblical verses and wanting to stretch their creativity as well as their bodies.
Dance Magazine in the February 1991 issue had a nice mention of the book. And then in 1999, Attitude: The Dancers’ Magazine did a very informative piece on the book:
..the movement improvisations of Torah in Motion are focused on community without a barrier or division of spectator and performer. Here everyone is a participant: a thinking body if you will, filled with both movement possibilities and thoughts of contemporary relevance. Dance Midrash has wide application possibilities in summer camps, senior citizen homes, settlement houses, day camps and various adult education settings and schools.
In 2000 when A.R.E. decided not to reprint the book, Susan and I explored the possibility of making it available “on demand” through a company called “E-rights.” A.R.E gave us permission to use the cover they had designed, and the Photographer of the photos in the book, Tom Brazil, also gave us permission to use them in the “on-demand” version. In 2014 the book became available through Open Road Media and may be purchased on Amazon. The almost 30-year journey of the book is fun for me to remember and I am delighted it is still available and being used.
In 1986, with Rick no longer guiding us in the improvisational sections of M’Vakshei Or, I knew that I needed to get up to speed in providing leadership in this area. I found myself studying the weekly Torah portion more seriously, whether we had a performance that week or not. I would also make it a point to attend Saturday morning Torah study groups at Temple Emanuel, the congregation we belonged to in Westfield, NJ where we then lived. I went as often as I could and found the discussion quite lively and stimulating. Slowly I began increasing my library of Jewish books.
I also asked Rabbi Norman Cohen, Professor of Modern Midrash and Dean of Hebrew Union College-Jewish Institute of Religion if he could meet with the dancers and me and give us some guidelines. He agreed and we had an excellent private seminar with him where he explained the process he uses in developing Midrash.
About this time I received a letter from A.R.E. (Alternatives in Religious Education) Publishing asking if I was interested in doing a book on the role that dance could play in Jewish education. While that triggered my imagination a bit I knew I wasn’t ready and didn’t have a real direction on what to do. I think I wrote back that I was interested but didn’t have any specific ideas at that time.
The company successfully continued performing M’Vakshei Or regularly in Friday evening Reform Sabbath services over the next two years. Then in the winter of 1988, another rabbinic student, Susan Freeman, joined Avodah and added a new level of enthusiasm to the process of creating dance midrash improvisations. I shared with Susan that A.R.E. had inquired about my doing a book and I asked if she would she be interested in co-authoring it with me. Susan had grown up in Denver where A.R.E. was based and in fact her mother was good friends with Audrey Friedman Marcus who along with Rabbi Raymond Zwerin owned A.R.E.
We got back in touch with Audrey and began to formalize ideas for the book. The preface of Torah in Motion: Creating Dance Midrash describes how Susan and I “began pushing the improvisations further with the enthusiastic cooperation of Avodah dancers Kezia Gleckman, Deborah Hanna, and Beth Bardin who, in turn, also played an active role in developing ideas from which this book began to take form.”
Together we came up with an outline that could work for each of the different dance midrash exercises in the book. First we shared the line of text we were exploring, followed by a brief description of its context. Next we provided ways to motivate movement, followed by ways to connect the text to real life experiences. The instructions for the actual dance midrash followed, and an additional challenge concluded the exercise. There are a total of 104 lines of text explored. While some weekly portions have only one lesson, some have three or four.
Audrey provided guidance with our outline and encouraged us to complete all the lessons before writing the introductory chapter. The introduction was the hardest for us to write and Audrey wonderfully edited for us. The conclusion of the introduction shared our vision for the book and approach to exploring text:
Dance Midrash is a new and exciting way to approach the Bible. As movement is merged with the structure and style of Midrash, participants will wrest new meaning from the biblical text.
By drawing on the material in this book, a leader can engage people of every age in an exciting and satisfying process. Imaginations will be triggered and, in a playful and fun filled manner, participants will discover new insights into the Torah. It won’t be long before such comments as the following are heard, “I never would have thought about the passage this way unless I danced it!” (Torah in Motion: Creating Dance Midrash, p. xxii)
Rabbi Norman Cohen wrote a meaningful Foreword to the book, explaining the importance of the process of Midrash in finding meaning in the Bible related to contemporary life. He continued by pointing out that many artistic forms – “writing, music, drama, visual art and dance” – can be and are being used to “bring life to the biblical text in new and creative Midrashic ways.”
Audrey and Ray knew the importance of photographs for the book and we were given a budget to get photos that showed participants of all ages and levels of dance engaging in different Dance Midrash activities. We asked Tom Brazil, who had regularly photographed The Avodah Dance Ensemble since 1985, to do the photographs for the book. In the preface to Torah in Motion: Creating Dance Midrash we thank and acknowledge the help we got with photographing:
Hebrew Union College-Jewish Institute of Religion and Brooklyn Heights Synagogue provided space for the photographic sessions. The teachers and students in the preschool, Grade 5, Grade 8 and Senior Adult group from the synagogue contributed their time and energy through their participation in the photography sessions. Ellen Robbins, an outstanding modern dance teacher, generously entrusted her talented students to us, helping us to illustrate a variety of Dance Midrashim. Deborah Marcus (no relation to Audrey Friedman Marcus) brought several senior adults to one of the photography sessions. A special thank you to all of these individuals.
I remember how thrilled I was when I saw the completed book. The format, photos and overall look were done elegantly by Rabbi Raymond Zwerin and Audrey Friedman Marcus. I am so grateful for the care they took in guiding us through the process of writing it, formatting it and publishing it. In the next blog I’ll write about a book signing and performance sponsored by A.R.E. at a Jewish education conference, reviews of the book and opportunities that grew out of the book. While A.R.E. Publishing Company no longer exists, the book is still available as an ebook and here is a link to order it.
The cover of the book. The photo features Ellen Robbins’ students exploring weaving movements inspired by Exodus 27:16: “And for the gate of the enclosure[of the Tabernacle], a screen of twenty cubits, of blue, purple, and crimson yarns, and fine twisted linen, done in embroidery.” Photo by Tom Brazil.
Avodah Company members (l-r) Deborah Hanna, Susan Freeman (co-author) and Kezia Gleckman exploring Genesis 22:1, 22:7 and 22:11 as Abraham said, “Here I am.” Photo by Tom Brazil.
Susan Freeman leading a group of 5thgraders from Brooklyn Heights Synagogue exploring Genesis 12:1 when God said to Abram, “Go forth from your native land…” Photo by Tom Brazil.JoAnne and Susan, co-authors of Torah in Motion: Creating Dance Midrash, had a chance to catch up in person, December 1, 2018.
Murray and I went to see Mary Poppins Returns at our neighborhood theatre over the December holidays. It was well attended, mainly with adults and a few families. I had had some apprehension going to an afternoon showing, thinking that it would be filled with restless kids. It wasn’t. While it didn’t quite live up to the high standard of the original Mary Poppins for me there were some wonderful moments in it and I particularly loved the dance scenes with special effects that took the movement to a new level.
The finale is quite amazing and a definite highlight for me. Angela Lansbury makes a cameo appearance as the Balloon Lady singing the song Nowhere to Go But Up. As the characters select balloons they are swept up into the air and a beautiful scene in the London sky accompanies the singing. The sky is filled not only with the main characters but with lots of dancers too.
As I left the theatre I was reminded of an Avodah tour in 1983 to Southern California when on our day off we toured Universal Studios and learned about how special effects are done. Rick Jacobs and Bea Bogorad volunteered to assist in one of the scenes. Next time we saw them they were in space suits soon to take a trip in their space ship, first against a green screen and then with a different background to make it seem real.
Bea and Rick being interviewed before their ride in space.
Bea and Rick in Space!
As I was writing this blog I checked in with a dancer, Roberta Behrendt, who I thought (but wasn’t sure) was on the tour. She confirmed that she was indeed on the tour and remembers the special effects we saw showing the “parting of the Red Sea.” Roberta also reminded me about a day off in San Diego where the full company was photographed on a very large tree in Balboa Park. I found the photo.
Balboa Park, San Diego. L.to R. Jean-Ann Yzer, Dircelia Rodin in sun glasses, Roberta Behrendt, JoAnne, Bea Bogorad and Rick Jacobs standing.
Another memorable moment on the tour happened as we were packing the car to leave for the airport. We had home hospitality and some of us were staying at Rick’s parents ‘ house. We had rented a car for the trip. Somehow or other the car keys got locked inside the trunkwhen we closed it. There was this moment of disbelief… total shock. What were we to do next.? And before we could even decide, either Rick’s Mom or Dad had reached into the car’s glove compartment and found there was an extra set of keys. Many sighs of relief and then this picture was taken. We made it to the airport in time to catch our flight.
Rick holding up the extra set of keys. From left to right, Rick, Jean-Ann, Dircelia, me, Rick’s Mom, Rick’s Dad and Bea. Photo may have been taken by Roberta Behrendt.
Collaboration plays an important role in a small dance company like Avodah. Through the years so many dancers worked together contributing their talents and their wonderful spirit. What fun it is for me to remember not only the creative collaboration but the fun we also had together on our down time. We worked hard, rehearsed and performed and then we got to play on our days off.
Now back to what motivated these memories, Mary Poppins Returns. The special effects were just extraordinary and I wanted to learn more about how they did them. A quick “Google” and I found two excellent articles. One article goes into detail related to how a broken bowl becomes an amazing adventure and ballet:
For the creative personnel behind Disney’s flashy new sequel, the jaunt through the painterly fantasia of Royal Doulton would prove the production’s most formidable technical challenge — and as director Rob Marshall tells it, “the hardest thing I’ve ever actually done on film.” Speaking with Vulture, Marshall laid out the complicated, labor-intensive process by which the visual-effects team combined live-action, 2-D animation, and 3-D computer rendering to create a passage of eye-popping originality within a repurposing of intellectual property. Whatever a viewer’s criticisms of the film itself, there’s no denying that this sequence represents a stunning synthesis of state-of-the-art technology and old-fashioned artistry.https://www.vulture.com/2018/12/how-mary-poppins-returns-turned-a-bowl-into-a-fantasia.html
The other article describes how they created the ending scene Nowhere to Go But Up.
The movie’s airborne finale begins on the ground in “Spring Park” aka Pinewood Gardens, where Angela Lansbury’s character hands out magical balloons. Once Mr. Banks (Ben Whishaw) and his family achieve liftoff, the practical location was swapped out for a digitally constructed backdrop. “The challenge there was to make the performances happen live as much as possible,” Johnson says. “We created a full digital park with trees and Ferris wheel along with these highly detailed CG versions of Buckingham Palace and Big Ben in the background.” With digital London added during post-production, actors floated above the “city” wearing harnesses. Johnson explains, “We had all the principal cast members moving around on wires in front of a green screen. We shot 30 or 40 different passes because Rob has an incredible visual sense. ‘On frame 17 this dancer’s leg would be over there because it’s a nice shape and that balances some other thing. It was all very choreographed.” https://www.mpaa.org/2018/12/how-mary-poppins-returns-vfx-supervisor-battled-english-weather-won/
Murray and I have the habit of staying through the credits of a movie. And wow these were long credits acknowledging the large team of both live actors and animation artists involved. Some of Disney’s traditional cartoon artists came out of retirement to participate. The power of collaboration and bringing different elements to play with each other was outstanding and hats off to the talented team that worked on this film. My fascination with the options available for dance and film are clearly getting more and more triggered and I am so glad to be part of the film community here in Santa Fe.
Reading the description of the piece M’Vakshei Or (Seekers of Light) in publicity material for its first performance in Pittsburgh at Rodef Shalom, it is no surprise that it didn’t work. We tried to do too much in one piece. As I kept watching M’Vakshei Or in performance I knew that it wasn’t working the way we wanted it to. Rick and I decided to rework the piece. Avodah’s fall 1982 Newsletter describes what we did. Instead of five parts, the piece was now three parts: Part 1 – Meditation; Part II – an improvisation based on the weekly Torah portion; and Part III – Blessing. The first performance in the new format was at a lecture demonstration at the Hillel of the University of Texas in Austin and the second as part of a Friday evening service in Houston.
The Newsletter described:
JoAnne discussed how we create choreography on a Jewish theme. Each of the four dancers demonstrated a movement theme in Part 1 based on Jewish ritual. The audience then participated in a discussion on the weekly Torah portion and gave suggestions to the dancers for a series of improvisations. One improvisation was chosen and the work was performed. Comments afterwards indicated that this approach was quite enlightening in understanding not only M’Vakshei Or but other pieces in the repertory.
Our process was also described in a review a few months later on January 24, 1983 following a concert at Temple Beth-Or in Montgomery:
A portion of the account from Exodus of the Israelites being led out of Egypt by Moses and escaping the Egyptians through the Red Sea was told by Jacobs, after which Dr. Tucker asked the audience to select a scene for the ensemble to dance and also to cast the characters.
One of the improvisational pieces became part of M’Vakshei Or, a dance based on the Torah Service.
The new format worked wonderfully with Rick summarizing a part of the Torah portion so that the congregation or audience had background they needed to become part of the process. Sometimes Rick shared traditional commentaries on the portion as well as helping to come up with new ones. As we performed the piece in many different settings over the next few years some of our dance midrash improvisations stand out. One time in a concert at Hebrew Union College – Jewish Institute of Religion’s Los Angeles campus, one of the professors who knew Rick from his second and third year of rabbinic school at the LA campus insisted that we just be the ROCK that Jacob put his head on when he had the dream of the angels going up and down the ladder (Genesis 28:11). So we explored in movement the energy that the rock might have had.
Another memorable moment was at a congregation in San Antonio, TX when the week’s Torah portion related to crossing the Red Sea and Rick drew upon a traditional commentary and became Naashon, the person who initiated crossing the Red Sea. Rick boldly jumped off the bema and into the congregation!
Rabbi Edwin N. Soslow, (of blessed memory) wrote in his Rabbi’s Message, December 1983 (Temple Emanuel, Cherry Hill, NJ):
The improvisation which members in the congregation suggested on the Torah portion will never be forgotten. Whenever I study or speak about the meaning of the story of Abraham welcoming the three angels with their message about the destruction of Sodom and Gomorrah and the birth of Isaac, I will always remember how that message was portrayed in dance.
In addition to the middle section of the piece providing an educational opportunity to introduce the Torah portion of the week, the choreography based on ritual movement in the opening and closing sections gave us another teaching moment. As I mentioned earlier, each of the four dancers in the piece demonstrated a short phrase based on ritual movement prior to performing the piece. One dancer shared a phrase based on putting on the prayer shawl. Another dancer demonstrated in movement how the Torah is lifted following the weekly reading and turned so all may see the writing inside. A third dancer shared how the Torah is carried through the congregation and the fourth dancer shared a phrase of movement based on the letters in God’s name: yod, hay, vav, hay.
As I reread the comments I’ve shared here and having just watched a very old tape done in rehearsal for reconstruction purposes, I am reminded that editing and revising a piece and paring it down to the basics ended up creating a successful piece that continued in the company for years. It inspired a book (Torah in Motion: Creating Dance Midrashwith Rabbi Susan Freeman). We were invited to teach in summer institutes. We were guests in Rabbi Norman Cohen’s modern midrash classes at Hebrew Union College – Jewish Institute of Religion. We led dance midrash classes in religious schools. We led workshops teaching others how to lead dance midrash based on Torah portions.
We even adapted the piece for a special event at a congregation. M’Vakshei Or was done at Westchester Reform Congregation honoring Rick on his 10thanniversary of service in June of 2001. I joined adult congregation members and danced in the opening and closing sections. Children from the religious school interested in dance did improvisations based on the Torah portion. The entire confirmation class (16-year olds) enthusiastically engaged in honoring their Rabbi. The following three photos are from the final rehearsal for the Friday night service.
JoAnne with Members of Westchester Reform Temple in M’Vakshei Or.
Young dancers from the Religious School of Westchester Reform Temple.
Part of the Confirmation Class of Westchester Reform Congregation.
As I am writing this week’s blog I am deeply grateful for the contribution Rick made in collaborating on the creation of M’Vakshei Or. As I watched the rehearsal video of the piece and then found myself looking at videos of other related repertory I am reminded of the incredibly talented dancers that have shared their gifts with Avodah. I am so grateful for their contributions both in helping to create the work they performed in and their outstanding performances. I extend a very deep bow of gratitude to these wonderfully talented individuals!
Performances – whether in services or as concerts – were growing for both the New York and Florida companies now that bookings were arranged by the Jewish Welfare Board’s Lecture Bureau. In Tallahassee, Michael Bush consistently danced with the company but in New York it seemed like every few months we were auditioning for a new male dancer. In the fall of 1980 the company’s female dancers (Lynn Elliott, Beatrice Bogorad, Barbara Finder, and Nanette Josyln) were all tall. So when I posted an audition notice I indicated that I was looking for a tall male dancer.
Continuing our relationship with Hebrew Union College – Jewish Institute of Religion (HUC-JIR) we were now rehearsing and working out of their new campus on West 4thStreet. The recently constructed five-story building took up the entire block from Mercer to Broadway. The chapel offered a lot of flexibility in how it could be set up and would prove to be an excellent performing space. In the lower level were several large rooms that worked for rehearsals (although as the repertory grew with more leaps and falls, we later rented rehearsal space in Chinatown that had beautiful, safer floors for dancers).
I made several attempts to see how I might blend the two companies together. For one tour in upstate New York, two Tallahassee dancers, Judith Blumberg and Michael Bush, joined Bea Bogorad, Barbara Finder, and Lynn Elliot for several performances. At another time Lynn Elliott came to Tallahassee to rehearse and then perform in Savannah. Blending the companies didn’t really achieve the ensemble feeling that each group had independently and which I valued, so I chose to have the two companies operate separately but with similar repertory.
The New York company had a booking on a Friday night in the fall of 1980 as part of the Shabbat service, at a reform congregation on Long Island. I had arrived in New York a week before and posted audition notices for a tall male dancer. Several men showed up but Rick Jacobs was the obvious choice. Rick is 6’4” and was then a fourth-year rabbinic student at the New York Campus. In an article in The Chronicle (a publication of HUC-JIR) two years later, Rick told the writer about this time in his life:
Rick was living what he described as a “very schizophrenic” life without much hope that he could integrate his commitment to the rabbinate and his love of dance. It had been a constant struggle to continue the dance training he had begun as an undergraduate at the University of California at Santa Barbara. He managed to find sympathetic dance instructors in Jerusalem and Los Angeles, and had taught dance in the Reform movement’s summer camps……
Rick auditioned on Tuesday and danced with the company on Friday. He quickly learned the two pieces for Friday’s service, Sabbath Woman and In Praise.
Three photos of Rick Jacobs and Nanette Joslyn in the “Barechu” duet from In Praise
Lynn Elliott in the “May the Words” solo from In Praise
While Rick only had to learn those two pieces for the Friday night service, Avodah’s repertory had grown to five regularly performed pieces and Rick soon learned two more pieces of the repertory, I Never Saw Another Butterfly and the part of Abraham in Sarah.
With Rick joining the company, new ideas began to fly and it wasn’t long before Rick and I were collaborating on a new piece based on rituals of the Torah service. Earlier that year I had met David Finko, a composer and recent immigrant from the Soviet Union. David had written symphonies and other major works that were performed in the Soviet Union and Europe. I suggested to Rick that David might be a good choice to compose music for our new piece. So one day we drove down to Philadelphia to meet with David and talk to him about our idea for the new piece. I remember it as an inspiring day with very warm hospitality provided by David’s lovely wife who cooked a special meal for us. We shared our ideas about a piece in five parts opening with a meditation section based on ritual movement. I don’t remember much about three of the sections as they ended up being cut about a year later.
My scrapbook provides some useful information. The Temple Bulletin from Rodef Shalom in Pittsburgh, where the piece would receive its premiere having been commissioned by the 125thAnniversary Fund of the congregation, describes the new work, M’Vakshei Or (“Seekers of Light”) as blending words, dance and music “together to encourage modern Jews to search Torah for its wisdom.” It continues describing the piece: “Establishing a prayerful mood, the dance cantata presents the ‘sacred weaving of tales’ and ‘laws that guide our lives.’”
Helping to create M’Vakshei Or and dancing in the first performances of the piece were other company members. Lynn Elliott, who was in the first New York City performances, continued working with the company, bringing her background from Interlocken Arts Academy, college training at SUNY at Purchase, studies with Alfredo Corvino and performing experience with the Dance Circle Company. Joining her was Nanette Joslyn from Los Angeles where she performed at Disneyland and with the Santa Barbara Ballet. Barbara Finder had an MFA in Dance from the University of Michigan and also studied dance at the Martha Graham Studio, and with both the Jose Limon Company and Anna Sokolow. Dina McDermott grew up in New Jersey and had recently completed her BFA from Juilliard.
Beatrice Bogorad was no longer working with the company, having begun work with Charlie Moulton, and then later with Susan Marshall. Luckily a few years later her schedule made it possible for her to again work with Avodah.
Barbara Finder moved on and by the time the piece was performed in New York City at the Emanu-El Midtown Y on 14thStreet, Roberta Behrendt had joined the company. Roberta had attended the Alabama School of the Arts and had a BA in dance from Florida State University and I was of course aware of Florida State’s fine dance department. I was thrilled to have so many excellent dancers to work with.
M’Vakshei Or, performed at the 14thSt. Y. Dancers from L to R: Rick Jacobs, Lynn Elliott, Roberta Behrendt, and Nanette Joslyn. Photo by Amanda Kreglow.
Repertory performed on May 1 – 2, 1982 at the 14thStreet Y was Sabbath Woman, Sarah, Mother of the Bride, Noshing,and Kaddish. I’ll have more to say about the two comic pieces Mother of the Bride and Noshing in later blogs, and Kaddish when I talk about more repertory created for Holocaust Programs. But my thread for the next several blogs will relate to what we learned from M’Vakshei Or.
From L to R: Nanette Joslyn, Dina McDermott, and Lynn Elliott in Sabbath Woman. A favorite picture of mine from the 14thSt. concert. Photo by Amanda Kreglow.
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