38 Friday, December 26, 1980
THE DETROIT JEWISH NEWS
There is no quality so de-
plorable but that it some-
times serves a use, and no
quality so praiseworthy but
that it sometimes is la-
mentable: Silence is a com-
mendable trait, but it is de-
testable when preserved
while listening to absurdi-
ties; wrath is reprehensi-
ble, but if expressed over
transgressions, it is
praiseworthy.
Ibn Gabirol
Under Supervision of
The Council of Orthodox Rabbis
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Israeli Deaf and Hearing Dance Together
By PAULA RUBIN
World Zionist Press Service
JERUSALEM — They
dance to music they cannot
hear. They communicate
music through their bodies.
They signal dance cues with
knocks on a wooden floor.
The deaf are dancing in
Israel. Integrated with
hearing dancers, they are
part of the internationally-
acclaimed Kol U'Demama
— Sound and Silence —
dance troupe.
A unique system of wood
knocks and "rhythmic cir-
cles" transmits dance
rhythms to the deaf. Kol
U'Demama's artistic direc-
tor, choreographer Moshe
Efrati, independently de-
veloped this system and
plans to publish a book on it.
"The knocking on
wood sends vibratibns
from the floor through
the feet and the kne of the
dancer. His reaction is a
movement," explained
Efrati.
"A 'closed (rhythmic) cir-
cle' is formed," added Efrati,
"as the hearing dance to
music, and the deaf dance to
signals from the hearing
dancers' bodies."
Specified leg and arm
movements, hand claps and
foot stamps comprise Ef-
rati's dance language.
But even if you watch for
the signals, you can't tell
the difference between the
deaf and hearing dancers,"
said Kol U'Demama dancer
Esther Nadler. "Sometimes
while a hearing dancer
dances in silence, a deaf
dancer will give a cue with
his leg," she added.
Music is performed
only when the hearing
dance onstage. When the
deaf alone dance
onstage, they dance in si-
lence (except for the
wood knocks).
It was Efrati's desire to
honestly use music during
deaf performances which
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Choreography is an indi- way of interpretation for his
led him to create a dance
troupe for both the hearing vidualized Efrati mixture of dancing idiom . . . In my
and the deaf. In 1978, he classical ballet and Martha opinion he is the first Israeli
merged his troupe of deaf Graham. Interpersonal re- dancer who offers some-
dancers, Demama (Utter Si- lationships, biblical sub- thing individual to the art of
lence), with his troupe for jects and the philosophy of choreography. Something
the hearing, Efrati. The re- Martin Buber compose the personal and individual."
Kol `U•Demama has
sult was Kol U'Demama — themes for Efrati's works.
toured
the United States,
Sound and Silence.
"Textures" (1978), Ef-
Demama began as a pan- rati's first "significant" Bulgaria and, most re-
tomime circle for the deaf work integrating deaf cently, Paris, with Munich
organized in 1965 by the Is- and hearing dancers, next. Enthusiastic -reviews
rael Association of the Deaf. examines the barriers be- acclaimed the dancer -
In 1966, Moshe Efrati, then tween two different everywhere.
An ambassador of Is-
a principal dancer for Bat- peoples striving to
Sheva, was invited to lead understand each other. It raeli culture, Kol U'De-
the group. Sensing a parallels the conflicts be- mama is also "Israel's
"strength, energy and tween the separate number one dance
freshness" in the deaf, Ef- worlds of the hearing and troupe," according to Is-
sachar Goldrath,
rati fathered "rhythmic cir- the deaf.
Director-General of The
cles" and developed the deaf
Efrati has also choreog- Israel Association of the
into a professional dance
company. He founded the raphed for Bat-Sheva Deaf. "It represents the
Efrati dance troupe in 1974. (which he helped to found in the achievements of Is-
His merger of seven deaf 1963) as well as the rael both in art and re-
and seven hearing dancers Flemish, Berlin Deutch habilitation."
Kol U'Demama embodies
in Kol U'Demama four Opera and French National
Israel's unique will to over-
years later introduced new Theater Ballets.
According to New York come 'impossible' obstacles:
dance techniques for the
deaf and a new sense of Times critic Clive Barnes, Its dancers create music in
. . Efrati has his own silence. Dance is their
communication for the
music
hearing.
"Something new hap-
pened. The quality of dance
relationships on the stage
changed," said Esther Na-
dler, who helped found the
Efrati troupe.
"We learned from the
deaf to communicate, to
express ourselves much
more fully. More levels
and layers developed in
the dance," said dancer
Arie Bursztyn.
"We became more flexi-
ble," said deaf dancer Yola
Rozinek. "Before we began
dancing with the hearing,
our technique was only
modern and very strong
rhythmically."
"With the hearing, we
began studying the classical
technique," said Amnon
Damti. "This enabled us to
progress technically."
Although their pronunci-
Kol U'Demama — Sound and Silence
ation is slurred, the deaf
dancers communicate with
the hearing via verbal
speech. They also read lips.
Kol U'Demania is funded
one might be discouraged
By RABBI SAMUEL FOX
jointly by Moshe Efrati, the
when looking at himself in
(Copyright 1980, JTA, Inc)
Israel Association of the
the mirror and feel a sense
The
mirrors
are
covered
Deaf and the Kinneret
of embarrassment — a de-
ina
house
of
mourning.
A
Foundation, based in the
variety of reasons are of- gree to which the laws of
United States.
mourning did not want to
The dance company's fered for this practice.
For one thing, a mourner lead the mourner.
meager' budget means
It has also been suggested
is
supposed to broaden his
low salaries for its dedi-
by the mystics that mirrors
perspective
from
the
indi-
cated dancers. Ranging
might reflect evil spirits
in age from 16 to 30, each vidual to the universal.
which might still be preva-
Secondly,
some
claim
that
dancer works a private
lent as the result of the
the
mirrors
are
covered
be-
profession in addition to
death that occurred.
P ainting, cause prayer services are
dancing.
usually
conducted
in
a
eaching,
sociology,
Blessing Over
ceramic art axed n.oshav house of mourning and mir-
Children Said
farming are amcng their rors are not allowed in a
second occupf lions. The place of prayer, again, be- on Sabbath
youngest Member of the cause prayer is directed to
By RABBI SAMUEL FO'
troupe is a E udent at an the Universal God and is
(Copyright 1980, JTA, Inc.
not limited to any particu-
ORT vocatio al school.
lar
.identity.
It is, customary to bless
Sets are ba Costumes
It is also claimed that the children on Friday
are simply styl 3. "We try to
make somethii, from noth- the mirrors are covered night. This is done as part of
because looking at one's the procedure before the
ing," Efrati sai .
Music to cou iterpoint self in the mirror causes Friday night meal. The
wood knocks is specially one to experience a sense Sabbath is supposed to be a
composed by Israeli com- of vanity while mourning day of peace and delight.
posers including Naom is expected to bring one What greater delight is
there in the Jewish home
Sheriff and Zvi Avner. Ef- to a sense of modesty.
On the other hand, some than the presence of chil-
rati also composes his own
music, sounding the voices claim that the mirrors are dren?
The peace and agreement
of deaf dancers; the deaf re- covered because a mourner
peat select words against a is prohibited from such ac- among the members of the
background of wood knocks tivities as shaving, hair- family is a requirement to
and percussion instru- cuts, bathing, attiring in preserve the peace of the
new clothes, etc. Therefore, home.
ments.
,
Jewish Mourning Ritual
of Covered Mirror Defined