Carlo’s Choreography Comes to a Close

May 18, 2012

A Few Notes from the Choreographer

Photos in this post are courtesy of Kyle Georgina Marsh.

I have been privileged to study the repertory of many contemporary choreographers in Israel, via Deb Friedes-Galili’s Dance in Israel course. From Inbal Pinto & Avshalom Pollak to Noa Wertheim & Adi Sha’al, from Tamir Ginz to Rami Be’er, and from Sharon Eyal to Ohad Naharin. I have sampled so many movement styles—ballet from three wonderfully different perspectives, the classical modern schools of Cunningham and Graham, and the mind- and body-opener, Gaga. I have learned a rich variety of repertory. Just to list off some choreographers:  Barak Marshall, Inbal Pinto, Ohad Naharin, Idan Cohen, Crystal Pite, Smadar Goshen, Jacopo Godani, Noa Wertheim, and others.

But essentially, this grocery list of experiences here culminates in my choreography. How does my creative mind use the warm Israeli sun to photosynthesize the sweet pearls of wisdom in my mind and body? It all comes in and stews around, but what results? The difference between my creative process and photosynthesis, though, is that it is not an automatic function. Gaga is teaching me to let go. Melanie Berson’s choreography and repertory courses are cultivating the curiosity in me to go deeper. Other clichés I’m attracted to at present include, “they sky’s the limit” and “anything is possible.”

At first, my task was daunting. I was interested in creating a movement language for my piece. Some professionals have time to develop them. Naharin’s Gaga movement language is approaching fifteen years in development and practice. Pinto & Pollack work together to create gestural, full-bodied, and theatrical themes, unique to each piece! Oh, to be a student choreographer aspiring to be as brilliant! Oh, to be an artist whose taste exceeds his own skill! But as Ira Glass had advised, I just need to trudge on, create work, and fight to keep the interesting material.

And, well… I figured it out. After an academic year of creating material, I inadvertently formulated a language for my dancers to use to tell their story onstage. Deadlines stressed me out, seemingly to no end. But when it all came down to the wire, all the unimportant things in my mind melted away, and I found clarity. I can’t say the same for these photos of a (daytime) lighting rehearsal, but please enjoy the implication of dynamic movement offered by the blurriness.

From left: Elly Hollenhorst, Noa Ben Dor, Dana Hafouta

Dancers in dress rehearsal, performing שלוש בשבעים ושש בשבע או פחות

The best news is that my final product was chosen to be in the final round of the Gertrud Kraus Choreography Competition last week. My dancers were able to perform one last time among twelve other amazing finalists. Thanks are due to so many people, including my dancers, my music, the judges, and my teachers! Of course, this is just the beginning of a lot of work ahead of me. But it’s a pretty nice milestone.

And speaking of milestones, the true culmination of this entire choreographic shebang in Jerusalem comes in the form of Visiting Voices, the show produced by Miss Kyle Georgina Marsh! It’s this Wednesday evening, and I can’t wait.

Visit this link for details!


  1. i’m so pleased for you, carlo. looking forward to seeing and hearing all about it. jeff

  2. […] – Your Journal You will write down thoughts, organize your choreography, and keep shopping lists. It’s nice to have it all in once place, and I’ll enjoy looking back […]

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