Glad to hear you’re all so intrigued!

Jade, I double-checked, and the building was indeed custom-made for the installation. Sorry for not mentioning that before! Yes, it’s a good location (and I hear what you’re saying about the renovations there though I have never seen the port any other way so for me it’s “normal,” if you will). When do you plan to see the work?

As for your second question:

What I’m posting on The Winger and Israel Seen is really just a taste of what I’m seeing/doing/researching. Besides talking to choreographers, I’ve been having both informal conversations and more structured interviews with dancers, dance teachers, dance scholars, critics, promotors, administrators, etc. who are currently in the field. I’m also talking with a number of people who performed with, choreographed for, and directed Batsheva (and/or their own groups) in the 1960s, 1970s, and 1980s. In part because my Hebrew (especially my reading) is not so great, and in part because I love to get the perspectives of the people at the heart of the field directly from their mouths, I have been using these conversations as a major source of background information. Everyone has been wonderfully generous with sharing their memories, and they have helped me piece together the context for my research about what is happening right now. Maybe at some point I’ll write a bit about that as well . . . I did meet with Nomi Fortis a few weeks ago, but we talked more about logistics of my research rather than more theoretical issues; perhaps one day I’ll do a more formal interview with her as well! I could easily spend many more years researching here (and I may well do that . . . )

2. Deborah, are you considering interviewing any people in the Israeli dance world who are not choreographers? Naharin seems so cerebral, yet Bat Sheva has made so many commercial strides in the last decade and a half. I would really like to hear what someone like Nomi Fortis has to say.

Sorry to hog the comments, but it’s so interesting.