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Beershebaim? This cultural center was opened especially for you Israel today

2022-08-08T09:20:03.554Z


The dream of the "House for Dance" has come true - and now it opens its doors • The goal: connecting the local community to culture in the city • The house's choreographer Eyal Dedon: "Our dancers are a pioneering force"


It's hard to get lost in Be'er Sheva.

Even those who lose their memory for a moment will immediately understand which area they are in, because almost every sign has the landmark in one form or another - "The Negev Hotel", "Shifodi the Negev", "The Negev Museum of Art".

The feeling is that the places do not stand only on their own merits, but are organs of the same body.

A meeting with the local residents makes it clear how much feelings of belonging and mission are an essential part of their lives.

Dedi Alofer, a man of culture, an entrepreneur and the one who actually manages the "Habit Lemhol", calls them simply: "crazy".

The house was built on top of an abandoned military warehouse and in this sense it joins the "Tools" center in Bat Yam, which also in its case has forged swords into spears and spears into shears.

Instead of weapons - dance.

The vision of the "House for Dance" is to connect the Beersheba community to culture in the city, and the medium is "dance with everything."

The house is a large and beautiful hall, with an orchard with plenty of vegetation and pleasant seating, a large outdoor stage with podiums for the audience, a bar and a central indoor stage with a hundred seats.

The cost of the project is about NIS 20 million, which was financed by the company "Kiwanim" and the Negev Development Authority.

The house intends to initiate many activities at no cost or at affordable prices.

And when the vision began to become a reality in the field and the "house for dance" cream skin and sinews, the only thing missing was the arrival of the groom.

As fate would have it, Alofer came a few years ago to watch a dance evening by local artists.

The young and respected choreographer Eyal Dadon presented an original piece of his there, and Elofer, who knew Dadon well from the city and the dances, realized that he was the man he was looking for to fulfill the role of house choreographer of the emerging place.

Dadon is a graduate of two major institutions in the city, "Bat Dor Beer Sheva" and the band "Kamae".

After them, he coded and settled in the "kibbutz dance troupe" as a dancer, as a rehearsal manager and as a choreographer.

Rami Baer, ​​the band's in-house choreographer, took him under his wing.

When Dadon wanted to expand and start his own band, "Soul", Beer responded generously - "He accompanied me and gave me the blessing of the road".

Eyal Dedon, photo: Chang Dance Theater

As you move away from the central area, the sense of time changes.

Dadon shares: "I am very slow in the way I digest things. It takes me a long time to create a show, to process it, I have a different rhythm. In the seven years that I lived and created in Tel Aviv, I enjoyed myself and was grateful, but I felt that I was doing accelerated processes in which the output should be realized Quickly. Here I can dive with the dancers. It reminds me of a rock and roll band growing up together."

He talks about the dancers like a proud father and calls them a "vanguard force".

"They will be the pioneers and also the ones who get to pick the fruits."

Currently most of them live in the center, but just this week one of the dancers signed a lease in the city.

Dadon Sablani: "I want them to want to be in Beer Shevaim."

Quiet, creators

A walk in the old city area reveals a place with enormous potential.

Dadon finds in silence an inexhaustible source of inspiration and claims: "The less noise - the better."

The void allows him to imagine movement and embroider dances even before realizing them in the studio.

His new work, "Georgette", which is in the final stages, is the product of two and a half years of labor - a lot of time in Israeli terms.

At the beginning, a large black wall blocks the stage and makes it clear that the point of view, physical and mental, requires leaving the comfort zone.

Dadon created it with his young nephews in mind and how they understand (or don't understand) dance, and in general, children are repeatedly mentioned in him as a touchstone for the purity and quality of a work.

Another distinction that became clear to Dadon is that in order to communicate with an audience he must use contemporary media - screens, and indeed in "Georgette" a video camera monitors the work and projects its impressions for the entire duration of the work.

Dadon strives for a poignant social statement, and his work is dark and tormenting.

The dancers stay in places of physical challenge bordering on nerve-wracking suffering.

They are shockingly expressive and trapped inside eccentric characters.

The cast responds impressively to the challenge and presents a quality performance, and when the dancer Moran Miller performs the role of the "red" character, you have to rub your eyes to believe that it is possible to move like that.

"The House for Dance" goes all the way - both in the vision that according to Alufer is "ready a hundred years ahead" and in the stage aesthetics.

His door is open, the hosts are excited and the audience is invited.

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Source: israelhayom

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