Israeli Folk Dancing is a significant living driven cultural ethos in which the joys of one who is able and willing to freely express deep feelings, both secular and spiritual, as well as political diverse of being nationally liberated, and all the additional human experiences of being both culturally Jewish and truly joyful in ones emotions at the same time. The richness of this single aspect of the emerging civilization of the Jewish State of Israel, and its further connections to the World Jewry’s is one the vital links between all the peoples herein who are connected at the very time the recording of Jewish and Israeli music is played in which the choreographed, and in certain times are not choreographed, dance is one dances in unison with those who have come to this event to enjoy the richness of their heritages The very facet of being a form of both physical healthy aerobic form of dance and very degrees of emotional expression in which dance attempts to produce among which to throw off for a while their own personal anxieties in which the world has challenged ones very personal existence as being Jewish is Gestalt national therapy in its most significant deliberation of cultural self – determination.. Thus in being so connected this form of cultural habit is slowly becoming a cultural Shema Yisroel denoting a form of cohesion which is significantly Jewish as a result likewise of their / our Universally Human innate trait at the same time in of which ones is also able to extend ones own personal expression of personal joys as hasbara to the those who are attracted to this single universe all on it own.
The performances are also awesome as the photo above indicates.
The International Scope of Recognition of which is as follows….
Israeli folk dances are a unique phenomenon of contemporary folklore. In spite of the many changes in the values, dreams, and ways of life of the Israelis, they still dance the old dances of the 1940s and 1950s—the years during which more new dances were created than in any other culture in the world. Today there are some three thousand Israeli folk dances, according to folk-dance instructors. However, some of these dances are no longer danced. It is hard to specify which of the dances aren’t practiced but the Hora is still practiced. Many more modern dances incorporate folk inspired dance moves into their dances. Today there are groups in Israel whose jobs are to conserve the heritage of Israeli folk dance. About one hundred thousand people dance on a regular basis at least once a week and an additional one hundred thousand dance several times a year[1
This activity was brought to attention of every major University and College campus during both the 60s and 70s by Fred Berk.
Fred Berk was born Friedrich Berger in Vienna, Austria, in 1910. He studied at the State Academy of Dance there from 1930 to 1933. He performed with Gertrud Kraus, Viennese modern dance choreographer, winning the bronze medal as the most promising solo dancer at the Viennese State International dance competition in 1934.
Fred came to America in 1941 and changed his name upon his immigration to the United States, but was affectionately known to folk dancers as “Mr. Israeli Folk Dance.” He first performed with Hanya Holm then with Katia Delakoa for ten years. In 1949, when on his first visit to Israel, he and Katia became the first American dancers to perform in Eilat. He started the contemporary Israeli recreational dance movement in New York around 1951.
From 1951, Fred directed the annual Israeli Folk Dance Festival at Lincoln Center, conducted leadership training sessionns, and directed the Israeli Folk Dance Department under the auspices of the Zionist Youth Foundation.
Fred organized many projects and was associated with many organizations that were devoted to Jewish / Israeli dance arts. He was a member of the Israeli Ethnic Dance Board, founded the Jewish Dance Division of the 92nd St. YM-YWHA, and organized an Israeli folk dance leadership there in 1960.
He founded the first Israeli dance workshop in the United States, the Fred Berk Israeli Folk Dance Workshop, at Camp Blue Star (Hendersonville, North Carolina), in 1961 and directed it until 1977 (followed by Ya’akov Eden, Ruth Goodman, and Tuvia Abramson). Many Israeli folk dance recordings were issued under Fred’s supervision.
He established the Israeli Folk Dance Department of the AZYF in New York in 1968, was the director of the folk dance department of the American Zionist Youth Foundation, also in New York, and was editor of the magazine “Hora.”
Then came the era of creative diversities which is still ongoing since its appearance in the late 70s and was started by two choreographers.
Moshe Eskayo is the director of Hora Keff and the Sababa weekend seminar. He is a prolific choreographer and is fondly known as the “Debka King.” He is owner and director of Eucalyptus International Folk Dance Cafe, and director of the International Folkdance Camp (IFC) in Kent, Connecticut. He has been teaching dance since 1955.
The Hora Israeli folk dance camp was held in 1979 and 1980 and merged with Summer Dalia in 1981 to become Hora Shalom at Cejwin Camps, which was directed by Moshe Eskayo and Danni Uziel. Hora Shalom camp continued through 1989.
Moshe “Moshiko” Itzchak-Halevy is the son of an old Yemenite family. He was born in 1932 in Jaffa, Israel (then Palestine) in the Menashiya district near the Yemenite Quarter. His first introduction to the world of dance was in 1949, through the study of classical ballet, character, modern, and jazz dance at the studio of Mia Arbatoba (for five years).
Moshiko did his military service within the framework of a military entertainment troupe, and upon termination of his service, was invited to appear in a number of musical programs as lead dancer. In addition, he devoted much of his time to the study of modern ballet and jazz.
In 1954, Moshiko joined the Yemenite Dance Theatre Inbal, where he became reacquainted with his origins by working for six years as one of their principal dancers. While participating in Inbal‘s two successful world tours, Moshiko fell in love with mid-eastern folklore and began to try his hand at the choreographing of folk dances.
In 1959, Moshiko created his first dances, Debka Uriah (known in America as Debka Habir), Debka Cana’an, and Et Dodim Kala. These dances expressed his strong personality and also paved the way for his acceptance among the acclaimed choreographers of Israeli dance. He has since created many more, thus establisning himself as one of Israel’s most famed and exciting folk dance choreographers.
Moshiko left Inbal in 1960 and founded his own group, Hapa’amonim (in Hebrew, “The Bells”), an Israeli group dedicated to folklore, dance, and song. For eight years he headed the group as choreographer and the group met with great success in Israel and was invited to appear in Europe. There, too, the group was very successful and enthusiastically received. In spite of being very busy with his own company, Moshiko did not neglect his ties with Israeli folk dance and continued to create dances such as Debka Kurdit, Ein Adir, Hamecholet, Tfilat Hasachar, and Ha Helech, in which he shows an individual, creative style of his own.
The Cultural Department of Arabs at The Worker’s Federation in 1966 appointed Moshiko as instructor and artistic advisor in Israel for minority groups, such as the Arabs, Cerkissians, and Druze. Moshiko terminated his activities with Hapa’amomim in 1968 and has since dedicated himself to teaching choreography and working with minority groups. Also in 1968, Moshiko was invited to teach dances for three months under the auspices of NEVO, the folk dance society of Holland. He was invited to bring three groups from Israel with him — Circissian, Druze, and Yemenite — so they could participate in both the Folklore Festival, held in Leyden, Holland, and the festival held in Scooten, Belgium.
Bio – Sources / Photos http://www.phantomranch.net/
Israeli Folk Dancing had produced a healthy environment as the rolls of those who have met and danced together became married, forming long lasting friendships, and at times was the entry way for those who committed to themselves to Jewish conversions
None the less is the extreme masculine innate traits which appears in the chassidim dancing which depicts real muscular treatment of the same drives as does Israeli Folk Dancing.
From the beginning of Hasidism, teachers associated with the movement considered dance, along with music, an avenue of worship. In Hasidic thought and literature, dancing is both an expression and a stimulator of joy, and as such has a therapeutic effect. It purifies the soul and produces spiritual uplift, unites the community, and enhances social relationships; the tsadik’s dance may even encourage repentance.
Although some scholars associate the value assigned to dance with the central role of rejoicing in Hasidic lore, the various genres of Hasidic literature present a more variegated picture. The most important feature of dance is understood to be the theurgic aspect, which sees dance—and especially the mystical acts performed by great tsadikimas they danced (among them, Aryeh Leib, the Zeyde of Shpole; Levi Yitsḥak of Barditshev; Mosheh Leib of Sasov; and Ḥayim of Kosov)—as having an effect on the heavenly worlds. This aspect, rooted in Kabbalah, figures in works by both early and later Hasidic masters (Ya‘akov Yosef of Polnoye; Dov Ber, the Magid of Mezritsh; Naḥman of Bratslav; and, more recently, Aharon Roth, author of Shomer emunim) and is recounted in Hasidic stories; it undoubtedly influenced the idea of dance as a form of worship.
In areas of the 19th Century Russian Pale in communities such as Vilnus, and earlier, where even the “Ba; Shem ‘ Tov ” May Sweet Blessing be it on his name and remembrance… ” B. H. ” …. has himself dance this vigorous form of human expression – [ Source ] Rabbi Hershel Greenberg, Chabad, Buffalo, New York, a comment he made after his dancing at its Simcha Torah Celebration, along with shots of Vodka on both 1977, and 1978, and other historic Russian Pale communities like Smolensk. Also in viewing across the mechitza (Hebrew: מחיצה, partition or division, pl.: מחיצות, mechitzot) in Jewish Halakha is a partition, particularly one that is used to separate men and women depicted likewise an attachment of strength to their children. This is one of the most explicit form of masculine demonstrations within a dance related cultural envelope on a global scale. Moreover, there are awesome social dancing during their wedding celebrations of similar communities in Monsey, New York which are really out of this world as the swet gain by such activity can fill an ocean.
This blog post was written explicitly for my facebook groups in which I administer, and those who I joined…tell convey the advise that when things are bad and the feelings pf gloom appears over ones horizon of ones own future — simply go and invest oneself in Israeli Folk Dancing, and it you are observant likewise approach Chabad to start a dance social as well. This advise goes triple for those simply want to share their joy. lives, and happiness earned with others most certainly…
May you and yours have every happiness. … ” B.H. “….