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Sigal Bergman

The workshop looked at the way the performers in Maria Hassabi's work STAGING inhabit and move within the museum space. It began with a practice based on the Alexander Technique and other disciplines, calling for physical accuracy and minimal effort while maintaining difficult positions. We worked with slow motion transition between positions that refer to our collective image imprints.  As we moved, we focused on the ability to be attentive to the physical and mental sensation while remaining in touch with the space and with others. This state of being created resonance between the body and the architectural structure surrounding it. We then performed a 45 minute score, based on Hassabi's work, on the stairway of the museum.

Lior Avizoor

The lecture surveyed the ways dance entered the museum; It explored the affair between dance and the museum and then focused on the opportunity for dance to reflect upon its own medium through these reciprocal relationship.

Dina Khuseyn

The workshop focused on body/space oriented practices, as well as musical scores that were activated by the body, then we thought/talked in general about dance, its specificity and power.

Shira Eviatar

‘Celebration Body’- The workshop researches forms and shapes of celebration that are embodied within us. What are the mindsets, feelings, values and emotions we practice through these shapes? We are our own case study as entities within our own culture, a body of knowledge. How do we celebrate ourselves and find new ways to observe ourselves? How do we operate the system of feedback between our body and our consciousness? We tried to immigrate in what is familiar and known as a tool to reach the unknown.
'Masks and Basic Forms' - What kind of 'bodies of knowledge are present in the most basic forms of humanity, the first graphic forms humans have created: a triangle, a square, a spiral and a circle. Through working with masks, we lingered in the seam between form and content, between meaning and materiality, between sign and being.
'Voice and Body' - We worked with our voice to practice deep listening, and to dare to be exposed and share our experience. How can we be in a state of inquiry, devotion and lack of knowledge, without hiding behind an image, a mask or an idea, without wanting an external eye?  How can one rely on what already exists as a key to experience?

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