[esgred byS:t..do1m Printed in ls~ b/1Nnit11 Ress, Ltd. BANK LEUMI-the first and largest bank in Israel has over 300 branches in Israel and abroad. Some of its major offices are: NEW YORK BANK LEUMI TRUST COMPANY OF NEW YORK 579 Fifth Avenue, New York, N.Y. 10017, U.S.A. LONDON BANK LEUMI (U.K.) LIMITED 4-7 Woodstock St., London W 1 R,1 H D. U. K. PARIS BANK LEUMI LE-ISRAEL (FRANCE) S.A. 30 Boulevard des ltaliens Paris 9e,France ZURICH BANK LEUMI LE-ISRAEL (SWITZERLAND) 34 Claridenstrasse Ch 8022 Zurich, Switzerland Bank Leumi ~101N~ flJl lnbal chnce theatre thanks lE·ISRRELB.m . \lVOU) ~NlW'~ for its kind assistance in the publishingd this album byGiera IVlanor M ost dance companies possess a certain "group personality" or even a "company style" within the broader framework of classical ballet or modern dance and their respective styles, such as Russian ballet or Bourbonville tradition, German expressionism, Graham dramatic, Cunningham abstract or Nikolais theatrical. Few choreographers can claim to have created a distinctive style of their own. Sara Levi-Tanai, founder and artistic director of "Inbal Dance Theatre", and her dancers, have, in fact, the right to this ambitious claim. They have created, in twenty-five years of activity, something that is more than mere 'style'. They have created a movement-language of their own. Inbal is not a folkdance theatre, nor a 'living museum' which preserves the ancient folklore of the Yemenite Jews. Though based on tradition, their dances are not 'lifted' or restored. Sara Lavi-Tanai's work is very different from the staged folk material of well-known choreographers like Moiseyev, or Amalia Hernandez of the Ballet Folklorico of Mexico. In their companies, traditional steps and dance-forms are given stage design and mise-enscene, while the basic folk dance steps are kept intact. lnbal's dances were also created from traditional elements, but the dances which emerged have never been performed in this original form elsewhere. This is, of course, a general statement, for in "Yemenite Wedding", for example, there are certain dances taken from original folk dance, more or less in their entirety, but here they are used as sequences in a dramatic framework. The sources of Inbal's work are mainly these: Yemenite-Jewish dance and song, Jewish liturgy and the Bible, the Debka (a dance characteristic of the Middle East), and the 'Israeli Folk Dance', which was the result of experimentation by Israeli choreographers in the 1940's. The growth of an artistic style out of folk roots is a phenomenon well-known to dance historians. Even the most refined of dance styles, the classical ballet, was created by adapting traditional folk dances to the requirements of princely Renaissance courts. The names of quite a few Jewish dance-masters have, incidentally, come to light in connection with this process of adaptation. Ferdinando Reyna, a well-known dance historian, believes that one of the central sources of the classical ballet was the Moresco, a dance brought to Europe from the Arabian peninsula by the Moslem rulers of Spain. From this same region comes the corner-stone of lnbal's style -an interesting. coincidence. Yemenite Jewish dance possesses some easily recognizable features. All the dances are, basically, dances of a sacred character. Most are males solos. Other entertainers may join in, but without transforming the dance into a group performance. During the wedding ceremony, there are a few group dances as well, such as the procession which leads the groom to his bride's home, or the 'Hennah' ceremony, which is the province of the women. Generally, however, the women remain in the background, their steps an echo of the men's dance, dancing always separately The dance is accompanied by voice and simple percussion instruments. Traditionally, there are no professional entertainers, the dance and music being part of the religious ceremony and participation in it a 'mitzvah' or sacred duty. The dances were invariably performed indoors and the small, crowded room packed with wedding guests left the dancer only a very confined area in which to move. These cramped quarters dictated a strongly vertical movement, quite different from most folk dances which tend to move horizontally, covering a large ground space. This limitation of space is probably responsible for the most pronounced features of Yemenite-Jewish dance: the softly bent knee and the emphasis on expressive movements of the hands and upper torso. The hand movements are executed with the fingers held close together, not using the fingers separately as in most Asian dances. Jerome Robbins, who was asked in the early SO's to write a report about Israeli dance companies, (and became an ardent admirer of Inbal in the process,) called this characteristic up-and-down movement "Yemenite Gothic", because of the importance of the vertical line in that style. Robbins also regarded the softly bent knee of the Yemenite dancer as "the perfect demi-plie". For Sara Levi-Tanai, the great charm of these dances lies in their spirituality, refinement and introverted mood. One can truly find here "the sanctification of the secular", as in a blessing. What is truly surprising is the ability of the dancers to infuse into these nimble holy movements elements of humor and even acrobatics. This is an almost exclusively male dance. The dancer moves in a circle and his hands execute implosive gestures that return toward the body. Though thousands of miles and hundreds of years separate Yemen from the Chassidic communities of Eastern Europe, there is a surprising affinity between the hand movements of both these Jewish dance styles, both in the palm held with fingers close together and in the slightly bent knees. And both share a lyrical, soulful character. · Traditionally, women do not participate in the dance. Sara LeviTanai's use of the women dancers in her company may serve as an apt illustration of her creative work. Her dance, "Women", is built wholely on movements gleaned from typical household chores of Yemenite women -kneading dough, grinding and sifting flour, the carrying of water pitchers. Here there is no borrowing from folk dance at all. Sara utilizes anthrological movement material, moulded into an art form. Sara regards the basic Yemenite dance-step, the Da 'assa, as the fundamental element of lnbal's movement-language, especial!}' in what she calles_ the "landscape dances". It is a pattern of wide steps (to the side, front and back) always progressing counter-clnckwise. The Da'assa is, as she puts it,.a step that reminds one of the way a camel moves, but with a feline elegance. There is the softly bent knee, which we have already discussed, and the movement of the legs and feet reflected in the torso. This pliant body is diametrically opposed to the tightly held body of classical ballet or the proud chest of European folk dance. The echo of the step in the body motion has been developed by lnbal into something akin to the famous contraction of the Graham style. The Da'assa also has the proud look of the traveller in wide open spaces of the desert. t-larguage and techique Sara discovered in Yemenite dance and other sources typical movement elements, but no systematic dance technique that could be taught as such. The dancers would often bring traditional steps to rehearsal, and Sara would use these to create variations and new configurations. For purely technical training, however, lnbal dancers were instructed by outstanding artists like Anna Sokolow, who taught modern and classical methods. Neither of these techniques, of c·ourse, is desigQ.ed to suit the specific Inbal style. Though the years the dancers did achieve a good standard technique. What is fundametally even more important, a series of basic movement~phrases and sentences emerged, so that there is now, perhaps, a possibility of building a special Inbal technique. This is surely one of the most important tasks before the company. The systematic training of the classical school or the Graham school did not, in fact, develop from a preconceived idea or plan, but rather from the accumulation of recurring elements of the dances themselves, the 'enchainments' and representative steps or jumps slowly congealing into 'exercises'. Such concentrated dance elements, separated from the matrix of the dances themselves and placed in sequence, provide the technical underpinnings of a dance style which, in tum, within a wider framework of ideas, may become a movementlanguage. s'dance The Yemenite element was undoubtedly the primary element in Inbal's style, but it was not the sole ingredient. The Israeli folkdance movement was also an important influence. Popular in the 1940's and SO's, this movement found its pivotal expression in the famous "Dahlia" festivals, attracting tens of thousands of participants. The most noted Israeli dance artists, who sought to create a body of popular dances suited both to social dances and to the req·uirements of the 'resurrected' agricultural holiday celebrations, included Gurit Kadman, Rivka Sturman, Yardena Cohen, Leah Bergstein and Sara Levi-Tanai herself. The search for agricultural elements converged quite naturally on the ploughing -sowing -reaping cycle and the work of the shepherd, two spheres in which there were still actual models to the found in the Arab villages and Bedouin camps. Oddly enough, there is no trace of agricultural ambience ifi Yemenite-Jewish dance and hardly any floor design. Arab and Droze elements were the means used by Israeli folk dance creators to express the "return to the soil" inherent in the spirit of the Zionist settlers. The actual mode of work in the Jewish settlements was far from primitive. The mechanized, technically-oriented farming methods used by the settlers did not lend themselves easily to folk dance treatment, but the strong feeling of real contact with the soil, the farmer's dependence on the weather, the rhythm of seasons of the year -all these were present. The 'chronological regression' to scythe and threshing-board, shepherd's staff and water jug, was not as artificial, then, as it might appear. All these implements could still be observed in the Arab villages neighboring on the modern kibbutzim and moshavim with their tractors and milking machines. The Debka step, in which the heel is forcefully thrust into the ground became one of the elements utilized by Sara Levi-Tanai in her "Shepherd's Dances" period in the early days of Inbal. The Debka is a group dance, a tight line of dancers holding each other round the hips and led by a "caller' who usually waves a handkerchief or short scarf. In the Debka there is an element of advance and retreat, and there is a sense of open space, of fields and of the wide sky above. The short, stout, shepherd's staff is a walking cane, a weapon, a tool and a temporary tent pole, all in one. This versatility, often found in Arab stories and legends, was used by Sara in her work with lnbal during that period. It has become, together with the earthware jug an extention of the dancers body and spatial element in it's own right. The Mid-Eastern factor also found expression in another sphere the relationship between male and female dancers. Classical ballet still reflects the ideals of chivalry, the ballerina being the queen, the man her proud-humble servant, leading her, lifting her, courting her. Not so in the East, nor according to Jewish tradition. Here the man is the supreme ruler, and the wife the one who does the heavy chores, who waits on her spouse hand and foot. Accordingly there is, in Inbal's dances, a certain reversal of the male and female roles as experienced in Europ~an dance. (Actually, there is no mixed dancing in authentic Yemenite, Arab or Droze community dances). This reversal created an 'equality of the sexes' in lnbal's style. Lilerarysources No one actually knows what the form of Biblical dance was. Surely there was a wealth of dances during that period, judging from Scriptural references. Historians believe that the Yemenite tradition is, in fact, the best preserved specimen of ancient Jewish culture, left almost intact by centuries of isolation from foreign influence. To create her many dances based on Biblical material, Sara Levi-Tanai utilized the mime elements found in Yemenite-Jewish culture. Biblical subjects tend to find expression in the theatrical aspects of lnbal's work more than in the dance movement proper. The desire to recreate ancient sagas and legends led Sara to merge spoken dialogue with dance, song with the playing of drums and other musical instruments. At that time, during Inbal's first years, Sara did not realize that this fusion of drama and dance, of word and movement, so 'modern' today, was, in fact, the 'Total Theatre' of the 'Singspiel' , the musical and contemporary ballet. It is insofar as the Inbal style co.mprises not only movement but the sung and the spoken word as well that it mav claim the ambitious title of Movement-Language, (these 'foreign' factors influencing the dance itself and vi~e versa.) Another feature, though marginal, which was new and startling at the titre but has since become commonplace throughout the world, is the men's beards. One can find many critics mentioning this 'hairy' phenomenon during Inbal's early tours abroad. The au1henlic ard the abshact While exploring the development of Inbal's dance language, one encounters a certain dialectic cycle. On the one hand is the artist's incessant striving for individual expression as creator and, on the other, the periodic returning to the objective roots, to the authentic source of the art. In the dance, "Desert", for example, there is an abstract expression of wilderness, loneliness, the timelessness of desolation. This leads to the use of body-revealing tights, while the basic step is still the Da 'assa. At the same time, one of Inbal's most celebrated dances is "Yemenite Wedding", which is based on research (and restoration) of authentic customs. In this piece one finds the dichotomy between the legitimate urge to express the erotic, so basic to the modern artist, and the striving to preserve the original reticenc~, the oriental modesty innate in the material. From this struggle emerges the very moving scene in the "Wedding" when the groom has to lift the bride's veil and see her face for the first time. He of course hesitates, trembling with apprehension before facing, so to speak, his destiny. "Should they find favor in each other's eyes, they will be happy; should they not, may God have mercy on their souls," say the programme notes. Sublimation of the erotic -a certain spiritual, refined approach to the expression of the libido -is typical of the Inbal style. This, too, clashes with the permissiveness of modern times which tends to urge the artist to 'spill the beans'. Saundsas partsd t One cannot describe Inbal's style without speaking of the music which is part and parcel of the movement, not an accompaniment (something which, if not inferior, is in any event seco.ndary). A great deal of the music used by Inbal was written by Sara herself, but many well-known Israeli composers were commissioned to provide scores for dances. Sara Levi-Tanai believes that, as the shepherd's staff is organic to the style of her dancers and their heritage, so the drum is one with the drummer. "When one of our girls drums, her fingers are dancing upon the strectched hide, on the earthenware drum", she says. The ancient oriental and Yemenite rhythms are the basis on which the whole edifice of song and dance are erected. The Yemenite-Jewish prosody, its rhyme and meters, also influenced Inbal's dances and Sara Levi-Tanai's own music. The poetry of Shabazy, biblical textsand Jewish liturgy are all bricks from which Sara creates her poetry, in sounds and movement. In Yemenite-Jewish poetry one discovers three basic meters -thenashed which has a strophe and antistrophe pattern. This metricelement is somew~at reminiscent of the herdsman's cry by which herecalls his charges when they stray from the herd, a shout whichevokes the broad horizon of the desert landscape, and gets an answerfrom his fellow sheperds. This is of a free rythric nature and servesusually a the first part of the song. The tausheech is composed of longand short lines alternating. The third form being a march rythm. In short, the basic elements of the Inbal Movement-Language are theDa 'assa, that soft Yemenite-Jewish step with pliant knees; the proud,energetic f>Oun'ding of the earth with the heel in the Debka; biblicalnarrative and the rhythms of Yemenite-Jewish poetry. The miraculousmeeting of these elements, moulded by the talent of Sara Levi-Tanai,somehow resulted not in a conglomerate in which all ingredients aremixed yet remain intact, but in a fusion from which emerges a newquality that one may be allowed to call, perhaps, a Movement-Language. From the outset, lnbal called upon well-known designers to create costumes and sets. Anatole Gurevitch, Naftali Besem, Danni Karavan (who was on many occasions the scenic artist for Martha Graham's company) and mainly, in recent years, David Sharir, were responsible for decor and costumes. The more enterprising experiments in costume design were, of course, done for the biblical theatrical pieces; here the scenic artists utilized the typical coarse-woven fabrics of the Middle East, now very much in fashion, with their broad stripes of color, the kerchief-like headgear (keffia), and so forth. On the other hand, in the more abstract works like "Wild Rose". which is based on a poem by Saporta, the use of tights was explored, an experiment which, to my mind, created a certain friction between introverted, guarded movement and 'revealing; costume A most interesting (and successful) exploration of the ways and means of transposing authentic, traditional garb into stage costumes was pursued in "Dresses" and its accompanying piece, "The Veil". The first is a parade of garments used in different Yemenite communities and on special occasions. The costumes are changed during the dance and before the audience into stage costumes, designed by scenic artists but preserving the original patterns. The second dance is based on various uses of the veil in•the form of "theme and variations". Formarddesign If the old saying, "Clothes maketh the man", is correct, surely this is doubly so in regard to the dancer. The difference between the classical tutu and 'modern' tights is not merely a matter of fashion. The relationship between dancer and attire is a crucial one. The diaphanous veils and 'Greek' shifts of Isadora Duncan were an integral part of the process of achieving freedom from classical restraint, just as her discarding of the ballet slipper was more than symbolic. The bare foot is basic to Yemenite-Jewish dance, creating an intimate relationship between dancer and floor. This leaves the foot free to be used as a limb capable of expression, of pointing and flexing, of up turqed toes -all typical of modern dance in general and Inbal in particular. The trad_itional garb of Yemenite men, a flowing caftan reminiscent of the Egyptian Gallabia, is both a revealing and a concealing garment. A flexed knee or wide step changes the whole figure as the caftan clings to the body or billows -a phenomenon absent from skimpy European costumes. The Yemenite woman's pantaloons, worn beneath the skirt and made of black material embroidered at the ankle, accentuate the bare foot. Soon after the Romans destroyed the Second Temple in 70 CE, manyJews were forced to leave Judaea. Some of these exiles settled in thesouthern tip of Arabia, in Yemen. Many centuries before Mohammed,a prospering Jewish community existed in the Arabian peninsula. The Jewish community jqined forces with the native Himyarite tribes in repelling Ethiopian invaders from across the Red Sea. For a time Judaism made considerable headway, and in the 5thcentury C.E. there arose a new kingdom, half Sabean, half Jewish.Its most illustrious ruler, Dhu-Nuwas, converted to Judaism andchanged his name to the biblical Joseph. Another invasion by theEthiopians, supported by the Byzantine Empire, put an endto his rule in 525 C.E. Legend has it that King Joseph, astride hishorse, plunged from a steep cliff into the sea and drowned. Ethipian occupation was short-lived and in 575 the Persians gained control, only to lose it sixty years later to followers of Mohammed, who established a new religion which rules supreme in Arabia to the present day. For the next 1,300 years, the Yemenite Jews lived under Moslem Rrststeps rule, subject to social and economic persecution but clingingstubbornly to their faith and their way of life. The hope of returningThe circumstances under which the original members of Inbal first to the Holy Land never vanished from their prayers and became met Sara Levi-Tanai were neither festive nor ceremonial; there was a basic tennet of their culture and poetry. At the turn of this century, no inauguration or laying of the cornerstone. (In fact, it is only now, the first group of Yemenite Jews settled in Palestine. Among those after 25 years of activity, that lnbal is about to get a permanent immigrants were Sara Levi-Tanai's parents. In 1948, following thehome, ample studio space and office and storage room). Tuvia establishment of the State of Israel, most of the Yemenite JewishOvadia, a musician who worked in a transit camp for new immigrants community was brought to Israel by airlift, which gained thefrom Yemen (shortly after the proclamation of independence of the operation the appellation "Operation Wings of Eagles"~State of Israel), arranged a meeting between Sara and some youngsters,so that they might teach her the traditional tunes and steps they had Meetings between Sara and the Young Yemenites continued throughbrought with them from 'the old country'. Ovadia became later 1948-49 at the Tel Aviv Seminary for Music Teachers, where Sarathe musical director of the company, a post he held for many years. taught. There she began rehearsing a show drawn from the songs anddances brought from Yemen. The young troupe, whose members In some ways, this was a reunion, a confrontation between Sara and worked at various jobs during the day and rehearsed at night, were her own heritage. Sara was born in Israel of Yemenite parents but asked to perform before groups ofnew Olim from Yemen. This waswas orphaned at an early age and raised in an institution in Safed. the beginning of the first lnbal program, "From the Sources of Yemen".Her teachers were Eastern European, mainly Russian, so that hercultural beckground was rather Western. This seminar group included, among others, the first 'star' oflnbal,Margalit Oved, who later received accolades from leading American History usually does not grant a second chance. In this case divine and European critics -praise of the kind normally reserved for a guidance apparently turned a blind eye and arranged a second Fonteyn or a Nureyev. In 1949, however, neither Margalit nor, for opportunity for Sara to meet her artistic destiny. From these sessions that matter, Sara herself knew to what dimensions this modest group with the Yemenite youngsters the Inbal Dance Theatre grew. of dancers would develop. • The group that used to meet three times a week in the classrooms of the seminary received invitations to perform, but they lacked technical equipment. Sara naturally turned to the Cultural Centre of the Histadrut (Trade Unions Organization), which was at that time organizing most of the folk dance activity in the country. From them came the first financial help, which made performances possible, providing the group with some form of transportation and stage equipment. The performers did not regard themselves as dancers or singers. Sara called them chaverim, a term which means both members and friends, and to this day the staff of lnbal still refer to the artists as 'the friends'. At this time, Sara was herself a mother of two and her dancers were not much older than her own children. "I could have been their mother," She used to say. "Nowadays I could be their grandmother! '" but they are still 'the friends' in lnbal parlance. The first programme was pure folklore retrieved from oblivion. lnbal's second show, however, was already an original creation of Sara's. This was "In the Footsteps of Shepherds" and included folk material and 'peasant dances' in the style discussed above, which was then in fashion. It was a conscious effort to return to historical roots. Inbal was very well received by their audiences and their performances were in great demand, but the financial resources of the Histadrut Cultural Centre were limited and did not provide salaries for the performers which would enable them to leave their jobs and devote themselves even partially to the stage. Sara approached the Norman Fund (now the America-Israel Cultural Foundation) to become lnbal's patron. In 1952, the Fu·nd's directors asked Jerome ·Robbins to come to Israeland make a survey of Israeli dance. He was very much impressed bywhat he saw of lnbal's performances and classes. In .his report, hestated that Inbal was, in his opinion, the most interesting and worthwhile Israeli dance group and recommended that the Fund take thefledgling company under its wing. Thus began the most fertile period of Sara -Levi-Tanai's creative work,which culminated in lnbal's first tonr of the United States in 1957.The critics reacted with enthusiastic acclaim. lnbal put Israel on the world map of dance, meriting entries in danceencyclopedias and articles in important publications, such asAgnes DeMille's book. lnbal's artistic development demanded improvement of its dancers'technique. Anna Sokolov, the fainous American choreographer, usedto visit Israel frequently, and she began to teach the companymodern dance techniques. Sara herself began to combine her diverse interests in theatre~ musicand dance in works on biblical themes which were later to be termed"total theatre". She staged 'dance musicals' based on The Story ofRuth. The Song ofDeborah and other Bible stories. The singingdancer who provides by voice and instrument his own accompanimentbecame the hallmark of Inbal. Touring the world After performing throughout Israel for seven years, lnbal went on tour abroad. Sol Hurok was their impressario in the United States. To the dancers who disembarked at New York harbor, it seemed quite unreal that they should actually perform in the metropolis of the New World. Hurok came to see a rehearsal and a hectic week of technical rehearsals ensued, with Hurok trying to bring Inbal's modest stage technique up to the standards of Broadway. Inbal was a refreshing -not to say startling -experience to American audiences. 'Original', 'spellbinding' and 'surprising-' were the epithets used by critics. Hurok wanted to extend the tour, but Inbal had commitments in Europe and was obliged to decline. The company did return in following years for several tours. In London, the company appeared in the huge, cavernous Drury Lane Theatre, under the grandiloquent (and misleading) title of "National Ballet of Israel". The British critic& were not as impressed as The New York Times' John Martin, who called lnbal "irresistible" and remarked that Inbal's "biblical dramas remind one of Greek tragedy". His London colleagues found poor technique: even monotony and boredom. It may be that they lacked a certain openness or favorable predisposition towards modern dance in general, measuring everything according to the standards of classical ballet -a narrow view still evident in British dance reviews today. This hideboundness prevented them from enjoying Inbal, which did not fit into the 'ethnic' slot, and was unfamiliar ground, being basically a part of the modern dance movement. In other European countries, lnbal was well-received and Sara LeviTanai and Margalit Oved both got fabulous reviews and earned for themselves and the company world reknown. The successful first tour brought more invitations. The company again spent four months in the United States in 1959 and in 1962 took part in the World Theatre Festival in Paris, were Sara earned a citation for choreography. The company also appeared in Belgium and Italy. Inbal became an unofficial ambassador of Israel, proving to audiences abroad that Israel was not a 'foreign implant' in the Middle East -a charge often raised by anti-Zionists. Glowing notices in The New York Times or La Stampa did not, however, improve the company's financial situation at home. This, despite the help of the America-Israel Cultural Foundation, was a dire one. Hol In 1962, the company found itself in a most peculiar situation. Inbal was asked by film director George Stevens to appear in a film he was about to shoot on the life of JesusA This was a rather lucrative proposal and could help the dancers to balance their meagre bank accounts. Taking -part in a big movie was tempting in itself. Sara Levi-Tanai's decision to participate in "The Greatest Story Ever Told" was reached only after much deliberation. It raised a storm in Israeli religious circles. Rabbi Untermann, Chief Rabbi of Tel Aviv, accused Inbal of assisting in missionary work. The press was full of polemics about Israelis in a film about 'that man from Nazareth', the attacks ranging from simple vitriol to philosophical essays by Prof. Rothenstreich. Inbal's management attempted to reassure everyone that the film was not anti-Semitic, even pointing out that the director counted among his credits the film version of "The Diary of Anne Frank". The furor, nevertheless, continued. During the actual filming, the Inbal dancers found a friend in Max von Sydow, the Swedish actor who played Jesus. This friendship continued during his visits to Israel. After eight months in Hollywood, the company returned home. In 1964,overtures were made to create contacts with Droze and Arab audiences. The company performed in a joint program with a Droze dance group, and before Arab spectators in Nazareth. Nter tl4'el1ty yeas a crlSIS After nearly twenty years developing and performing, Inbal found itself in an impossible financial position. The America-Israel Cultural Foundation resources were inadequate to cover the operating costs and the dancers salaries. Only in 1968, new economic arrangements were worked out with the help of Akiva Levinski and a more permanent financial base was created, enabling the threatened company to continue its work. Pecuniary difficulties are, of course, common to most dance ensembles throughout the world. Only recently, in 1974, the Government of Israel, through the Ministry of Education and Culture, took more or less full responsibility for the company .lnbal's administrative director since 1969, Gila Toledano, has been with the company in roles ranging from wardrobe mistress to jack-of-all-trades from its very inception. The problems that beset the company were not, however, only financial ones. Inbal was famous throughout the world. They were welcome everywhere -but in their own country they were still regarded as a somewhat anachronistic remnant of the old, pioneer days. As a newspaper put it at that ime, "Inbal (a bell's tongue) tolls only abroad." What had happened to the company that had once. thrilled its domestic audiences? First of all, the 60's was a period of disillusionment, in contrast to the 'Spirit of '48'. Then, immediately following independence, a somewhat naive belief in national values, as represented by statehood, prevailed. During the first years of independence, a period of austerity and even chauvinism, people changed their foreign family names to Hebrew ones and took pride in all things Israeli. The decade of the 60's, on the other hand. was a period of prosperity when anything imported was deemed automatically superior to the native product. This attitude was, of course, detrimental to the economy, and absolutely disastrous to the arts. Inbal, having developed a truly original movement-language and using only Jewish and Israeli themes, became "unfashionable". Their work became associated, in the popular mind, with the folk dance movc:ment, which also now appeared to belong to the 'old days' and equally enjoyed a period of disfavor. Anna Sokolov and her Lyric Theatre, and the new Bat-Sheva Dance Company, brought American modern dance to Israel, and many people could not -or would.not -see how truly modern Inbal's dances really were. Inbal became, in the eyes of many a 'tourist -attraction', for export only . ~newgencraliai ddancers Dance is an art of eternal youth. To stay yong, a dance company has to have a steady supply of new talent. For some years, Inbal maintained a school of its own. Lacking proper facilities, this had to be abandoned. Instead. the dancers be~an to work with youngsters of Yemenite (and other Oriental) Jewish origins, in order to r( replenish their company. It is from these classes that most of the ensemble's new artists come. Recently, a most encouraging trend has begun to take shape: young dancers from abroad, mainly from the United States and some of whom are former pupils of Margalit Oved, now teaching at the University of California, came to Israel to study with Inbal under the drrection of Sara Levi-Tanai. They came to learn the company's special Movement-Language. For more than twenty years, all of Inbal's works were choreographed by Sara herself. Since 1972, other artists have been asked to create dances for the company: Rina Sharet, Oshra ElkayyamRonen, and a former Inbal dancer, Shlomo Haziz. This seems to indicate a future trend. Sara O_ne cannot think about Inbal without thinking of Sara Levi-Tanai, Inbal's moving spirit. Sara is Inbal. Her radiant personality, creative force , deep culture, and strong feeling for and great knowledge of the Jewish heritage, are the roots from. which Inbal grew. Of Yemenite extraction but born in Israel, she was educated in an orphanage (which she remembers with great warmth) by teachers who taught her Russian classic literature before she learned her own Yemenite tradition. Later, Sara came to the Meir Sheffeya School, which cultivated in its students a strong tradition of making music, imbuing them with a love of singing and dancing, painting and all creative activities. This blend of love for European and Oriental literature and art is the mainspring of Sara's artistry. She dreamed of becoming an actress and took drama lessons as the Habima Studio, while studying at a Tel Aviv teachers' seminary to qualify as a kindergarten teacher. "One had to earn a living ... " During the Second World War, her husband joined the British Army to fight Nazi Germany, and Sara, already a mother, became a member of Kibbutz -Ramat Hakovesh. In the kibbutz, she became involved in staging plays and festive pageants for which she used to compose the tunes and create the movement. She even tried to find a way to combine kibbutz life with theatre, but that seemed a practi~al impossibility in those d&ys. Sara then returned with her family to Tel Aviv and was rather surprised to be invited to teach other kindergarten teachers her method of using music and acting with children. Today this would be called 'creative drama' and it would be very much in vogue. Thus it was at the premises of this seminary that Sara met the young Yemenite Jews and, the circle closing, Sara returned to her own roots, and already an artist in her week of own right. This meeting was a seminal one, giving birth to Inbal. Truly Sara is Inbal, and Inbal is Sara. In 1973, Sara Levi-Tanai was awarded the highest distinction an Israeli artist can attain, the Israel Prize. Sara is still creating new dances and has many plans. Perhaps the main task before her is to crystallize an Inbal technique out of the body of dances she created during a quarter of a century. Yemenite so·urces Longing Yemenite Wedding Women On Eagles Wings Garments Ode to Shabbazi The Diligent Wife Shabat Peace At the Gates of Zion Midnight Prayer 1950 1955 1956 1957 1959 1966 1973 The Queen of Sheba ---~---~-1954 , Song of Debora 1 -1955 The Lad Samuel 1956 Story of Ruth 1961 A Psalm of David 1964 Jacob in Haran ,..~-.rl"-"---:-~-~"-197 3 Israeli dances Shepherd's Song Flute and Drum Bells Follow the Flock Cana'an Gathering of the Sheaves Daughter of the Rocks Around the Campfire Song of the Jug My Land Hora The Heart's Desire Desert Wild Rose Carry Us to the Desert Variations Jug The Wheel The Pearl and the Coral 1950 1952 1953 1955 1955 1956 1958 1963 1964 1966 1966 1971 1972 Erom ethnic sources Somewhere 1966 My Sister My Bride 1969 Spirit of Joy 1975 raphers Shlomo Haziz The Staff 1971 Oshra Elkayyam-Ronen Death of a Warrior 1971 Moshe lzchak-Halevi Habbanim 1971 Rina Sharet Nimrod and the Coat 1972 l:J 111 Wild Rose .. ~ Women Carry Us to the Desert i111i1 Hora The Lad Samuel ?N1r.rv 1Vli1 Jug A Psalm of David Jacob in Haran Song of Debora Story of Ruth \ \ taLlL ll.!ClUlCU ZL6 L 4ul: N. 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