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18-514: The company performs year-round in some of the theaters and festivals worldwide from the Sydney Opera House in Sydney, Australia to Washington D.C.'s Kennedy Center. The International Dance Village is home to the company's dance programs including the annual Kibbutz Summer Intensive taking place each July and August and open to dancers and dance students of high school and university age. Throughout

36-570: A form of expressive dance that remained popular in Israel until the mid-1950s. In 1994, a second company joined the Kibbutz Company, called Kibbutzit 2, which mostly performs for young audiences, with performances such as Peter and the Wolf , The Animal Carnival , K-butzit 360 and Sipurei Kodemkol . Some of the company's choreographers, including Shay Peartush, Etai Peri and Lotem Regev, participated in

54-482: A general protest against artistic stagnation and the old society. Ballet was perceived to have been superficial entertainment. The new dance would be art, both individual and artistic creation. The dance was described as the art of movement. It was a revolution. It would be more expressive, and show more spirit and emotion and less virtuosity. The dance would be improvisational, uninhibited and provocative. Future spiritual and bodily reform movements expressed themselves in

72-519: A new "natural" naked dance. The women took centre stage. A key protagonist was Isadora Duncan, who around 1900 had taken from classical dance technique and costume. She had even taken off dancing shoes – "you do not play the piano with gloves on". She wanted to unite the body, mind and spirit in her art, and searched with Olga Desmond for inspiration in ancient Greek and Egyptian art, during the time of Orientalism . The revolutionary movements in Germany and

90-550: Is an essential part. It emerged as a counter-movement to classical ballet at the beginning of the 20th century in Europe. Traditional ballet was perceived as austere, mechanical and tightly held in fixed and conventional forms. Other designations are modern dance and (especially in the historical context) free dance , expressionist dance or new artistic dance , in Anglo-American countries German dance . In 2014, modern dance with

108-500: The 1950s. The British choreographer and live performer Liz Aggiss , who trained with Hanya Holm and Hilde Holger , has been making expressionist dance works since 1986. Her first solo show, Grotesque Dancer , was inspired by Valeska Gert . In 1992, Holger revived four dances for Aggiss from her repertoire: Die Forelle (The Trout) (1923), Le Martyre de San Sebastien (1923), Mechaniches Ballett (1926) and Golem (1937). These were first performed with Billy Cowie, as Vier Tanze, at

126-456: The Israeli TV show Nolad Lirkod (Born to Dance). The choreographers Liat Dror and Nir Ben Gal, who married shortly after their Israeli military service, began their careers in the company. Expressionist dance Expressive dance from German Ausdruckstanz , is a form of artistic dance in which the individual and artistic presentation (and sometimes also processing) of feelings

144-523: The Manchester Festival of Expressionism in 1992. Sophie Constanti wrote that 'Together all four pieces danced with great sensitivity and aplomb by Aggiss...provided a fascinating insight into the lost Ausdruckstanz of central Europe.' Indian dancer Patruni Sastry has been working on choreographic style "Indian expressionism" where the major work is focused on queer rights and other social elements Hertha Feist Hertha Feist (1896–1990)

162-581: The USA were most obvious, two countries that had no older rooted ballet tradition. The forerunners in Europe included Clotilde von Derp , Hertha Feist , Hilde Holger , Loie Fuller , Jo Mihaly and especially Mary Wigman . Schools for expressionist dance had special philosophies and emphases for dance, such as naturalness, breathing, tension / relaxation etc. It was often associated with floor contact, "weight" of dance movements, and experiments with music. Body and physicality were strongly emphasized. Rudolf von Laban

180-535: The United States, while Birgit Åkesson went her own way with her dance research. The Denishawn School in the United States was founded by Ruth St. Denis and Ted Shawn , with such students as Martha Graham and Doris Humphrey . Its independent and pioneering dance came to form the backbone of modern dance, whose many branches stretched forth up until today. Butoh is inspired by the German expressionist dance of

198-500: The kibbutzim. Due to budgetary constraints and the company's commitment to creative independence, all of its productions were based on the choreography of Israeli artists. The group's performances were originally considered amateurish, both for their low production quality and the company's dependence on local artists. During its early years, the company's performers included Yehudit Arnon, Ofra Achmann, Hada Oren and Oshra Elkaym-Ronen. Arnon and Achmann frequently performed Ausdruckstanz ,

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216-583: The north of Germany and participating in his majestic Tanzbühne productions. In 1923, she established her own school in Berlin and also taught at Carl Diem 's sports academy, successfully combining gymnastics with nudism and dance. She continued to dance in Laban's productions, starring as Donna Elvira in his Don Juan (1926). Her school's freestyle movements were pictured at the Berlin Stadium. In 1927 she appeared in

234-530: The only film made by the American Stella Simon . The avant-garde film entitled Hands: The Life and Love of a Gentle Sex had its own score by Marc Blitzstein and it tells of an eternal triangle story using just the hands and forearms of the dancers. In 1928, Feist toured with the Novembergruppe , presenting her Der Berufung in Germany, Poland, Switzerland and England. Her last major production

252-600: The stylistic forms and mediation forms of rhythmic and expressive dance movements was included in the German List of intangible Cultural Heritage  [ de ] as defined by the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage . German Expressionist dance is related to Tanztheater . Expressionist dance was marked by the passage of modernism , vitalism , expressionism , avant-garde and

270-565: The year, the company hosts a pre-professional 5-month study abroad program known as the Dance Journey program for dancers and dance students ages 18 years and up. The International Dance Village is the home of the company and consists of a total of nearly 100 Israeli and international dance and dance students. The company was originally named the Inter-Collective Dance Company. At the time, all of its performers were members of

288-752: Was Gluck 's Iphigénie en Aulide performed on the steps of the Pergamon Museum in May 1933. Her ambitions were then curtailed by the Nazis who closed her school and forced her to move into smaller quarters although she continued to attract many students. After the war, she taught at the Volkshochschule Hannover from 1952 to 1965. Her last dance was performed for the inauguration of the Golden Rosenkreuz Temple at Bad Münder in 1965 where she lived at

306-504: Was a German expressionist dancer and choreographer. She established her own school in Berlin, combining gymnastics with nudism and dance. In the 1930s, her ambitions were seriously curtailed by the Nazis . Born in Berlin, Feist first studied with Émile Jaques-Dalcroze in Hellerau , Dresden, in 1914 before moving back to Berlin in 1917 to study under Olga Desmond . Thereafter she joined Rudolf von Laban , following him to various locations in

324-726: Was a theoretical prominent figure who was based on metaphysical ideas and one of the pioneers of Ausdruckstanz in Germany. From 1913-1918, Laban operated a school for art on the colony Monte Verità in Ascona, Switzerland, which became a teaching centre for the new dance. Among his students were Kurt Jooss and Mary Wigman. Mary Wigman was an important trendsetter as a dancer, choreographer and teacher. In her school in Dresden (opened in 1920) she taught Europe's premier aspiring dancers Gret Palucca , Harald Kreutzberg , Jeanna Falk , Dore Hoyer and Yvonne Georgi . Hanya Holm brought her theories to

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