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[going] into battle, and that
provided the material for the
last section of the dance,"
explains Fogel.
The choreographer, who has
been at U-M since 1985, looks
back on a 10-year, New York
performance career that placed
her with the Phoebe Neville
Dance Company, Hannah Kahn
Dance Company, Dalienne
Majors and Dancers and
Andrew DeGroat and Dancers.
Fogel, who asked her troupe to
develop some of the movement she
shaped into the complete perform-
ance, used her Jewish heritage to
develop a 1993 program, Dance to the
World Beat. One of four choreogra-
phers looking to their roots, she chore-
ographed a three-part piece that refer-
enced both pre-World War II Europe
and the Holocaust.
"Our dancers do numerous per-
formances throughout the year," says
Fogel, who is preparing for her adult
bat mitzvah.
Post-Postmodernist
David Dorfman was in Ann Arbor
workina on "Ancient Steps, Forward
b on Sept. 11 and brought the
Glances"
lasting emotions of that day to his
choreography, according to Gay
Delanghe, a member of the U-M
dance faculty.
Delanghe worked closely with the
guest artist and went forward with
rehearsals of his dance while he toured
with his professional troupe, David
Dorfman Dance, founded in 1985.
"Dorfman calls himself a post-post-
modernist," says Delanghe, who
describes his work as intertwining
movement and text. "He has fused
modern dance with hip-hop and uses
the music of Chris Peck, a U-M stu-
dent who worked with Dorfman at
last summer's American Dance Festival
in North Carolina."
Dorfman, 46, who was raised as a
cultural Jew in Chicago, started dancing
in his junior year in college after trans-
ferring from Washington University in
St. Louis to the University of Illinois as
a business major. When he returned to
Washington University for his senior
year, he signed up for modern dance
classes, and went on to get a master's
degree in dance at Connecticut College.
For the piece that soon will be per-
formed in Ann Arbor, Dorfman audi-
tioned and selected the dancers and
spent two weeks working with them.
He asked each performer to write sen-
tences about their memorable experi-
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Choreographer David Dorfman used
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ences and incorporated that exercise
into the movement.
"The program explores the fear of
intimacy," explains Delanghe, who
_videotaped rehearsals for Dorfman's
comments. "It incorporates pop cul-
ture into a formally organized struc-
ture. It's youthful and playful and ends
on a somber note.
"The dancers will speak, but it's
more poetic than narrative. Integrating
voices with choreography is a signature
of Dorfman's work."
Dorfman, a new father who has
begun to examine his Jewishness in
some of his latest dance pieces, was
invited to Ann Arbor by U-M faculty
member Robin Wilson, who has
worked with him.
"I've always had the chutzpah to
think that what I'm feeling is impor-
tant enough to try to share with peo-
ple," Dorfman told the New York
Times. "It's hard to take that leap but I
think it is really necessary, so that's
why I think I've been out there as a
Jew, a guy [and] an artist." ❑
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