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.
Kezia Gleckman exploring Genesis 22:1, 22:7 and 22:11 as
Abraham said, “Here I am.” Photo by Tom Brazil.
Photo by Tom Brazil.
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