Tag: Rabbi Susan Freeman

Reflection on the “Jews and Jewishness in the Dance World” Conference

JoAnne Tucker / / Current Dance Events, Movement Workshops

Let me begin by sharing the history of how and why I decided to go to this conference.  I saw a notice about it posted by Naomi Jackson on the National Dance Education Association bulletin board about a year and a half ago.  Shortly after seeing it, I received a copy of the notice from Elizabeth McPherson, who danced in Avodah for seven years and with whom I have kept in regular touch, often meeting on my occasional trips to NYC.  She wanted to make sure I saw it and wanted to encourage me to apply. What followed was a series of emails with Naomi, as I wondered what kind of presentations she had in mind, and then later emails with Elizabeth.  The conference seemed to be very broad, looking at “Jewishness” and dance from many different angles.  Since I have moved on from The Avodah Dance Ensemble and using Jewish themes as motivation for creating choreography or doing workshops, I wanted to share something that felt current to me now.  In discussions with Elizabeth the idea of presenting on Helen Tamaris came up.  She was a pioneer modern dancer, and Jewish, and most important to me, her work is the thread that influenced both the work that I did with Avodah and the work that I do now.  Perfect.

So we came up with the idea that Elizabeth and I would submit together.  She would share the history of Helen Tamiris, teaching one or two sections of Helen Tamiris’s Negro Spirituals, (see Blog Honoring Helen Tamiris on how we added Negro Spirituals to Avodah’s repertory) and I would share some ideas from studying composition with Tamiris. I was thrilled and while still feeling a sense of reluctance to attend, I felt very good about the presentation I would be part of.  And what a surprise I received.

Elizabeth presenting her paper on Tamiris.

Elizabeth teaching “Swing Low, Sweet Chariot” from Tamiris’s Negro Spirituals

Naomi set up a Google Drive where we could all share information from books published related to Jewish dance, choreography by Jewish choreographers or pieces on Jewish themes.  Lots of sharing went on as well as discussions on a logo for the conference and individuals’ memories of important influences in their work.  I followed and did post a little.  My husband and good friend Regina commented to me that every time I mentioned the conference I made a strange face that clearly lacked enthusiasm.  I wondered what three days of the conference would mean for me and didn’t have high hopes.  And clearly I was not alone in feeling this way, as once there, this questioning came up in quiet conversations.  But the thank you’s after the conference, again using our connection through Google Drive, were unanimous in sharing how good and meaningful the conference was and hoping there would be more.

In addition to Elizabeth, my good friend and dance/film collaborator Lynne Wimmer decided to go to.  (See Blog on “In Praise” in Pittsburgh and watch the film “Through the Door” which we co-directed in 2016.) Lynne and I would be roommates and we looked forward to catching up on our recent adventures.  So I went knowing that at least I would be hanging out with people I really enjoyed. I also decided to drive so that I would have a car to make it easy to get around and do other things in the area should the conference be “boring.”  It wasn’t at all boring, but the car was helpful in enabling us to select restaurants that weren’t in easy walking distance.

The overall energy of the conference was a genuine sharing of who we are and our role in dance and how it might relate to our “Jewishness.” From presentations on key historical figures (such as ours about Helen Tamiris), to panels on dance therapy or how one’s choreography related to social justice, participants shared enthusiastically and audience members listened carefully and respectfully.  For the majority of the time slots of an hour and fifteen minutes we had to select which one of four presentations we wanted to attend and it was often hard to choose since all looked good.

The opening evening program on Saturday  was a selection of dance films curated by Ellen Bromberg, Professor at the University of Utah who teaches Screendance. I loved seeing an early film of Daniel Nagrin and the fun film techniques used in 1953 when the film was made.

Sunday night was a concert curated by Liz Lerman and Wendy Perron.  Outstanding moments from the concert were: a piece beautifully performed by college-age Maggie Waller; Send Off performed by Jesse Zarrit to a recorded text of Hanoch Levin focused on the Akedah (the binding of Isaac) from Issac’s point of view; and The Return of Lot’s Wife by Sara Pearson in which Lot’s wife finally confronts God in her 1950’s Brooklyn kitchen.  All pieces were beautifully danced and the last two I mentioned had a wonderful sense of humor to them.

A photograph from Torah in Motion: Creating Dance Midrash that I co-authored with Rabbi Susan Freeman in 1990 was included in the Exhibition of “Reimagining Communities Through Dance” curated by Judith Brin Ingber and Naomi Jackson.

From Torah in Motion: Creating Dance Midrash. Rabbi Susan Freeman working with students from Brooklyn Heights Synagogue.  Photo by Tom Brazil

I found the panel on Dance Therapy to have a lot of historical information and loved the presentations by two of the women, Miriam Berger and Joanna Harris. An intense panel “Exploring the Complex Relations Between Jews and non-Jewish Arabs through Dance” followed and stirred some interesting reflections on whether dance events can help build relationships.

Perhaps the most meaningful moments came the last day and were both experiential movement moments. One was leading the experiential part of our presentation on Helen Tamiris. Tamiris’s composition class focused on the use of gesture to build movement.  I chose to share a way I use this idea with non-dancers.  I asked each of the 15 participants to say one or two words of how they felt at the moment and then we went around with each sharing a gesture that fit their word.  It was an intergenerational group all with a strong dance background and as we built a phrase of our 15 gestures a warmth and community developed.

Later that day I attended a workshop by Victoria Marks and Hannah Schwadron called “Dancing Inter-connections.”  Again it was an intergenerational experience with over 30 participants.  One improvisation featured us finding the way to move in the space between us.  The weaving was fun to do and we had to be inventive to find the space between us. The ending improvisation focused on the word “lingering” in movement interactions. That was particularly rich and beautiful.  In the feedback afterwards one of the young college-age dancers mentioned how meaningful it was to dance with the older generation.  How she felt nurtured and empowered.  And how wonderful that felt, to hear it come from a young woman.

As I reflect back on the experience I am of course very glad to have gone. I loved the many new and renewed connections.  And I wonder whether it was the Jewishness or the dance that so resonated for me, or the combination. I am most grateful to Naomi Jackson for her leadership in maintaining an openness and inclusiveness within the intent of the conference.  Once again I am reminded of the important spiritual connection for me in dance, both by moving, myself, and being inspired by watching dance.

    Closing ceremony dance. Photo by Tim Trumble

From Dance Midrash Improvisations to Co-Authoring A Book

JoAnne Tucker / / Dance Midrash

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. 
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More on Sisters: A Peek into the Rehearsal Studio and Some Dancers’ Reflections

JoAnne Tucker / / Dance Midrash, Dances on Biblical Women

In the Summer 1992 issue of Outlook (the Women’s League for Conservative Judaism’s magazine), Kezia and I wrote an article entitled “Midrash in Motion” which shared more about our process of creating Sisters, including some of the dancers’ thoughts and conversations in the rehearsal studio.

            “Maybe Leah’s eyes were weak from crying,” Deborah suggests.

            “Maybe,” muses Kezia. I don’t think she really had weak eyes. Other people just called them weak because she was thoughtful and withdrawn, especially compared to Rachel, and sensitive in a way people would not see.” 

            “Deborah, your interpretation matches a traditional midrash,” interjects JoAnne. “However, I want to focus on Rachel and Leah’s reactions when they were described as the beautiful Rachel and the weak-eyed Leah.”

            This snatch of conversations did not take place in an ordinary midrash class. Deborah Hanna and Kezia Gleckman Hayman, professional modern dancers of the Avodah Dance Ensemble, are rehearsing….

            Focusing on the initial question, two dancers improvised as [Cantor] Stone repeatedly chanted, “Rachel was beautiful, Leah had weak eyes.”  Coached by Tucker, Stone moved closer and closer to each dancer, first shouting the text in their ears, and then whispering.  The dancers reacted, their movements altered by the forceful suggestions of the intruder.  It was immediately clear that such chanting would be powerful.

Since the article was written and published several years after the piece was created, it ended with some reflections by Deborah and Kezia about performing the piece.

In mentioning the company’s community of performers, we must mention that when Sisters (and other works) toured over the years, if the original cantor could not travel with the company, exceptional local cantors occasionally agreed to take on the role in the piece – not an easy task, since it meant learning the role mainly by studying a video and then having usually only one quick rehearsal both to coordinate with the dancers and to master the staging.  And staging was complicated – for everyone – because it required customizing the choreography to fit most safely and dramatically into each unique performance space, which often included features such as stairs.  We are grateful to all the local cantors who performed so artistically and soulfully with us over the years, for Sisters and other company repertoire.

The form of the piece has remained substantially the same. Kezia and Deborah are still stepping into the sisters’ lives.  And yet, they still ponder the meaning of Leah’s weak eyes – in discussions and in dance.  In each performance, Leah discovers a new element of her feelings toward Rachel.  In each performance, Rachel feels a bit differently when she chooses to reveal the secret sign, thereby surrendering her bridal veil.  Each time, the cantor’svoice reveals new shades of emotion.  Each time, the company’s community [of performers] creates a bond distinct from the previous performance.  Each time, new midrash is created.

In 2004 when I was getting ready to leave the New York area I invited dancers and company collaborators to a Sunday afternoon gathering.  I asked both those that attended and those that couldn’t make it to write an Avodah Memory.  Rabbi Susan Freeman shared this one:

            Besides all the laughing and intense improvising…. I often think of the awe-inspiring moments of holding a pose in “Sisters” at a synagogue in suburban Detroit – with the sanctuary in the style of an enormous tent.  Any gaze extended into the “folds” of this amazing architecture.  I felt so alive – spiritually, intellectually, emotionally, socially, aesthetically.  It was one of those unique experiences of being wholly present – when the immediate moment becomes aligned with the eternal moment. 

The performance Susan is describing took place at Temple Beth El in Bloomfield Hills, outside of Detroit.  The cantor’s role there was beautifully performed by Cantor Gail Hirschenfang. With a satisfying sense of life’s circles, Kezia is delighted to note that Cantor Hirschenfang is now the cantor of the temple to which Kezia belongs in Poughkeepsie. 

The photograph of the building’s outside is by Rob Yallop from the website MichiganModern.org.  A photo of the soaring inside of the temple, with the “folds” described by Susan, can be found at the following link.

Here is a link to see a video of the first performance of Sisters.

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Rehearsals Begin for Binding

JoAnne Tucker / / Dance Midrash, New York Company

Rehearsals began with four collaborating dancers.  Deborah, Kezia, Susan and Beth (Bardin) had all helped to create Sisters.  There was an ease and comfort of working together that I really appreciated with a text like the Akedah which is challenging and disturbing.  I knew where I wanted to begin and that was opening with an angel ballet.  Having been introduced to a wide variety of percussion instruments by Newman Taylor Baker I also had decided that we would use text, chanting and percussion to accompany the movement.  That gives a certain freedom to choreographing as there is no music we need to follow.  It also means we don’t have any form to follow or any musical drive to motivate the piece.

I asked Mark Childs, the cantor we had worked with in Let My People Go, to help create the cantorial score of the piece and to be in at least the first performance in December 1989.  I was very grateful that Rabbi Norman Cohen had indicated his willingness to both speak before the piece was performed and to be part of the performance as well.

So we began with the angel ballet and played around with movement that might reflect a surreal appearance.  This included the dancers walking on tiptoe backwards, making diagonal crossing paths. Ritual movement from the Kedusha prayer would be incorporated.  The Kedusha is part of the Amidah, “the standing prayer which is central to every Jewish service.”  The Kedusha “calls us to imitate the choirs of angels singing ‘Holy, holy, holy.’ There is a custom of rising on our tiptoes with every repetition of the word kadosh, holy.” (https://velveteenrabbi.blogs.com/blog/2015/08/shabbat-morning-gratitude.html) 

We would take it a step further by turning the rising on the tiptoes to three jumps!  And toward the end of the opening angel ballet which is accompanied by a triangle percussion instrument, Mark would elegantly and boldly chant the traditional prayer.  Following that, the angels would birth the ram, inspired by Frederick Terna’s painting,  to the accompaniment of the traditional sounds of the shofar.

Costumes can sometimes help create a mood.  Somehow I wanted to have a very simple look to the piece and yet have the dancers have fabric that could indicate angel wings.  I loved the pants we had for performing the piece M’Vakshei Or and thought they could work with a black leotard.  The pants had a wrap-around design that gave a perfect place for fabric to be added.  Sometimes when I don’t know what to do for costumes I wander in department stores, particularly in designer areas.  As I was wandering around a store I came across a very simple and elegant chiffon poncho.  It had an irregular cut to it.  The price was over $200 and definitely out of our budget.  I drew a quick sketch of how it was constructed and realized it would be simple to make.  Next stop was the fabric store to pick out four different pastel colors in chiffon and enough extra to add some fabric to the pants.  The costumes worked and gave just the effect I wanted.


The Angels birthing the ram. From l. to r. Beth Bardin, Susan Freeman (as the ram), Deborah Hanna, and Kezia Gleckman Hayman in the chapel at Hebrew Union College – Jewish Institute of Religion, NYC.  Much to my disappointment we have neither formal professional pictures of this piece, nor any taken in dress rehearsal.  Luckily we have a video of the dress rehearsal.  So I have copied the VHS to a DVD and then to an MP4 file.  Using a screen shot I have captured some moments from the piece that I will be sharing in the blog. 

The next section of the piece is based on exploring this line of text: “After these things, God put Abraham to the test.” What were these things?  A duet begins between Deborah and Susan inspired by this poem:

Ishmael the older brother, boasted of his
Blood and brayed: My blood was drained when I was thirteen:

The younger Isaac whispered: if God
Wishes to take me, let God take all of me.


Deborah (standing) and Susan in the forefront as the brothers

At one of the early rehearsals Susan arrived with two poems she had written that she offered for the piece.  With her permission I share these poems which became part of the piece (with slight variations) and inspired choreography.

Abraham’s Trial
 
Hagar is crying – –
Banished and weary – –
In the wilderness.
The desert horizon is
Thirst and starvation.
Collapsing to her knees
She buries her face – –
Not to watch as Death’s path
Unwinds its parched fingers
Ready to take her son
In its suffocating embrace.
 
Hagar is crying in the  – –
After these things
Abraham was put on trial. Abraham is crying,
Forced to turn,
Return to the place
Familiar in his dreams – –
Wilderness.
(written by Rabbi Susan Freeman)
 

Beth and Kezia (l-r) as Hagar interpreting this poem in dance.

The piece continues using the second poem that Susan wrote:

The Birth of Isaac
 
Before these things
Sarah lay breathless.
Her eyes full, her cheeks damp,
Abraham holding their newborn son,
Joyous astonishment – –
And Sarah laughed.
Amazing is the One
Who creates life and death,
Laughter and tears.
And they called the child Isaac.
 
After these things
Sarah lay breathless,
Her eyes full, her cheeks damp.

A dance follows with Deborah as Sarah holding her new son and the three other dancers giggling and laughing in movement until the movement changes to a more hysterical, crying tone.

As the story unfolds Norman and Mark join the dancers on stage portraying Abraham and Isaac.

I could go on describing how the piece continues but instead let me invite you to click this link and see the final rehearsal for yourself.

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