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162:, as the rhythms were too complex for Nijinsky’s dancers to follow. The dancers also get their cues from the vibration of bass notes in the music, eye contact, touch, movement of others, and lighting cues, all woven into the choreography. Kol Demama has a Tel Aviv school for dancers, teaching several hundred young dancers each year. Efrati intended Kol Demama to be judged on artistic grounds, "
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together with ten dancers with normal hearing. Efrati cued the hearing impaired dancers by pounding a board on the floor or having a dancer stomp on the floor, creating a vibration that could be picked up by the dancers feet, similar to theories of an elephant hearing via vibrations perceived
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Efrati blended strictly formal and classical ballet choreographic vocabulary with free-form contemporary dance. He drew inspiration from diverse influences ranging from
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129:: משה אפרתי) (26 – 1934 September 2020) was an Israeli choreographer and the founder and artistic director of the Kol Demama Dance Company, based in
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DANCE: FROM ISRAEL, THE KOL DEMAMA COMPANY, Anna
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Dance with a
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Institutionalization and centralization: Dance in Israel, 1964-1977
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I am neither a social worker nor therapist, I am a dance creator.
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Founder and
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