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Documentation for the Prospect1ve/ Prospect2ve cds


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powerpluswatermarkobject408717377Documentation for the Prospect1ve/ Prospect2ve CDs

Welcome to the Prospect1ve aka A13 documentation. This is the first of four CDs released in the 13 series. It, and the Prospect2ve; aka B13, CD make up the Triskaidekaphobia, Volume 1 double Jewell case package.

Many people have helped in this release, some willingly, others knowingly and a few neither willingly nor knowingly. A hearty thank you to those below:



Music for the entire series: Don, Cherie, Grant, Sharon K and Tanya

Logo and Art: Deborah Kaplan

Additional Material for A13: Cherie, Naomi, Sharon K

Heavy use was made of the Aussie database which you can find and enjoy at www.israelidances.com

This documentation is being released in stages to the web site associated with these CDs, www.thediskcoordinator.com, where you will also find video listings to most of these dances. Additionally, the web site is being modified to allow users to locate teaching videos and music videos.






Music

Translation

T

Choreographer

year

Music

Time

1

At Sheli Ani Shelach

You're mine, I'm Yours

P

Dudu Barzilay

2008

Composed by Yossi Ben David, sung by Eyal Golan

1:58:03

2

Yesh Bi Ahava

I have loved

P

Avi Peretz

2006

Composer and singer:Regev Hod

2:30:51

3

Zman Laila

Night Time

P

Avi Perez

1996

Composer:Avshalom Tsovra;; Singer:Haim Moshe

2:51:03

4

Esperanza

Hope (Spanish)

P

Rafi Ziv

2007

Composer:Eli Moshe; Singer;Mishpachat Aleyev

2”10:73

5

Lo Ozev Et Ha'ir

In the city

P

Yoram Sasson

2003

Shlomo Artzi

1:56:45

6

Saloniki (Al Hachof Be Saloniki) aka Thessaloniki

Saloniki

P

Naftaly Kadosh

2005

Vocal by Shar El

3:07:51

7

Rak Elokim




C

Erez Tabul

2009

Haim Israel

2:36:58







Below, at the end of this documentation is a discussion of the sounds of this song. Two titles, Rak Elohim and Rak Ata are the same when listened to except for a few notes. Can technology help you determine this. Possibly not, but look for the discussion below.

8

Harakdan Ha'automati

Automatic Dancer

C

Rachel Waitzman

2003




3:16:58







We hope you don’t mind a little fair play entering these pages, but if you scan though the list of choreographers for the A13 CD, this and the next selection, are the only female names. It wasn’t always that way, we have been told, but males certainly dominate Israeli dance choreography, today. So, to even out the score, on a dance that is a staple at Cherry Hill and played somewhat at Don’s sessions, let’s tell you what we have found out about Rachel Weitzman through that portal of all discovery: Google.

In two words, Not much! The Aussie database has her listed for 5 additional dances. The only one this area might recognize is Belibi which may have been briefly taught at one time. If we ever get any more info, we’ll let you know.



9

Pitchi Lo Et Libech

Open your heart to him

P

Yoni Carr

2003

composer:Ze'ev Nehama & Tamir Kalinsyc of Ethnix;;Ethnix

2:35:43







The other female choreographer on this CD is Yoni Carr who is the choreographer of this partner dance. As opposed to the discussion above, there is plenty of information about Yoni on Google and you can contact her and trade Emails as the author of this documentation has proved. Per her Email we can report.

  • Yes, she is a female. (previous versions of this documentation had this in error)

  • She choreographed the above dance and it was among the top ten partner dances in 2005 at Gadi Bitton’s dance contest in Israel.

  • She is the sister of the choreographer, Israel Yakovee.

  • She runs classes in Southern California on Thursdays and Sundays.

  • She has her own web site at www.israelidancing.com

We’d like to thank Yoni for her good humor in answering our Email to confirm some of this information.

As far as the Trisk I package is concerned (A13 and B13), Mali Lipson, Nourit Grinfeld, Rachel Waitzman and Yoni make up the female contingent of choreographers. Thanks to our fact checkers for bringing this (that Yoni is a female choreographer) and other errors to our attention.



10

Shir Hashirim Sheli

My song of songs

C

Gadi Bitton

2009

Comp/Sing:Omri Glikman

2:29:74

11

Yafyufa[h]

Pretty Girl

C

Dudu Barzilay and Edo Israeli

2009

Composer;Adi L'eon;;

Singer:Eyal Golan



2:09:28







We asked Cherie Maharam, the leader of the Pittsburgh session a few questions about this dance which Pittsburgh has added to its repertoire.

Q. How did you become familiar with Yafyufa? Was it through a camp?

Same way I hear about most dances: noticed the name on a list of dances taught (can't remember which camp). Looked it up in the Aussie DB and noticed that it was sung by Eyal Golan. We already do several dances to songs he sings (Chalomot, Metziu't Acheret, Shomreini El).  His songs are always catchy.  I saw that the choreographers Dudu and Edo:  we already did many of Dudu's dances, and several of Edo's.  Also, I liked that it was not really slow (we have so many slow dances!) or too fast (our dancers would whine and drop out). 

Q. Would you consider this a difficult dance to teach? With your class, what was the hard parts for the class to master?

Medium level.  Only two parts, not a lot of stuff facing outside -- so it was relatively unintimidating.  The people in the group love the 2 stamps in the 2nd part.  Everyone always stamps at just the right time, even people who don't know the dance well. 

Q. To be fair, with about 6 to 7 thousand dances in the Israeli dance library, one has to wonder about the longevity of any new dance introduced. Do you think 5 years from now the Pittsburgh session will have this as a staple?

Good question. we only learn between about 20 dances each year, so we retain more than the average group (because we have fewer dances to forget!)  I think it's possible we'll still be doing it in a few years.

12

Tishmeru Al Atzmechem

Take care of yourself

C

Dudu Barzilay

2008

Composer:adi le'on;lyrics:Arlet Sfadia;singer:Haim Moshe

2:26:09

13

Pney Malach

Angel Face

C

Moshe Eskayo

1995

Composer:Stalios Potiadis;lyrics:Ilan Goldhirsh;

singer:Yoav itzchak



2:50:18







We asked Sharon Kleban, the leader of the Wilmington session, several questions pertaining and related to this dance. Below are the questions and below that are her answers.

Q. When Don plays Pnay Malach at his Thursday session, you seem to be in the lead. What do you like about this song and dance?

Q. On the web site I have tried to indicate the appeal of Israeli dance music. To me, the genre has a very strong Arab or middle eastern beat. Do you get the same feeling when listening to this specific music? I know the Wilmington group likes Salamati, Al Salsalim and Tzel Midbar, all of which sound Middle Eastern. To your way of thinking, are we correct in assuming this is one of the appeals of Israeli dance?

Q. You’ve taught this dance at Wilmington, I believe. How did the students pick up the steps? What do you consider as the hard parts of this dance to teach?

Q.The dance is choreographed by Moshe Eskayo. Do you like most of his dances? It is said that he brings a Yemenite influence to his choreography. Where do we see that in this dance’s choreography?
Pnei Malach (Ed Note: The Aussie database indicates the spelling as Pnay Malach) is one of my favorite dances created by one of my favorite choreographers Moshe Eskayo.  As I understand it, the song was originally Greek and was translated and re-recorded in Hebrew.  To me, it is the perfect blend of Middle Eastern and western sounds.  The steps and dance rhythm I would describe as very Middle Eastern.  There are slow-quick-quick combinations interspersed with slow-slow-quick-quick-quick-pauses.  I love the "break" section where the music changes to the chorus and the dance steps burst into running and turning jumps.  The hardest part for me to learn was the slow-moving transition where the beat is almost completely even, like a walking pace.  It feels so different from the rest of the dance that although the steps are much simpler they were harder for me to remember.  I think that was the hardest part to teach to the Arden dancers too.  We haven't done the dance that much, and I really need to teach it again.

 

I like the dance songs with a more Middle Eastern or Mizrachi sound.  The western style music sounds like pop music I could hear on any radio station here, but if the dances are really fun then I end up liking the music no matter what it sounds like.  Shmuot by Dudu Barzilai for example; love the dance but cringe at the music, especially the opening bars.  I think the tension that comes from a minor key played joyously, Eastern drumming and string-picking and (mostly) Hebrew lyrics create a slightly exotic sound and when you add a dance I am hooked.  I think the Arden group prefers the Mizrachi sound too, maybe because I play so many of these or maybe because it sounds ethnic and that's what Jewish and international folk dancers look for



14

Maoryan




C

Dudu Barzilay

2008

Composer:Adi Le'on

1:59:49

15

Metukim

Sweets

C

Svi Levy & Dudu Barzilay

1998

Comp/Sing:Shlomi Shabat

2:44:30







While this dance dates back a while, it was introduced last year at Naomi’s session in Cherry Hill. Like all the music on this CD (or at least that was the attempt), it has a fast and lively beat with very interesting steps – steps you would associate with a dance choreographed by Dudu.

One dancer has remarked about how people come and go in these sessions and for a while they are regulars and then you never see them again. They are in essence forgotten, especially in this type of dancing where the need to memorize new steps overrides the memory of older dance steps and the individuals who did them well.

The author would like to rectify this, even on a small, insignificant and fleeting scale, right here. Don’t know his last name. Don’t know where he went except back to Israel with his wife. But, whenever watching or doing this dance, he remembers Donny who used to be a regular at the Sunday Night Klein session and did this dance especially well.


16

Al Salsalim




C

Yaron Malihi

1998

Comp/Singer:Shlomi Shabat

3:21:67

17

Tikvateinu

Our Hope

C

Kobi Michaeli

2002

This is a greek dance Singer:Esta

3:06:65

18

Hachayim Ha'acherim

The other life

C

Avi Perez

1995

Composer:Yoni Ro'eh;;

Singer:Leah Lupitin



2:30:02

19

Kshe'hatal Notzetz

When the dew is glistening (Shining)

C

Israel Shiker

1993

Composer:Meir Goldberg;;

Singer:Uri Fineman



2:47:31

20

Kachol

Blue

C

Shmulik Gov Ari

2004

composer:Uri Miyls

2:31:31

21

Simanim Shel Ohavim

Signs of Lovers

P

Ohad Atia

2010




1:50:23

22

Rei'ach Valzeva

Scent and color

C

Avi Perez

1993

Composer:Doron Mazar;;

Singer:Doran Mazor



2:13:06

23

Trapatoni (aka Bachof Shel Trapatoni)

(on the beach of) Trapatoni

C

Meir Shem Tov

2003

Lyricist:Shlomi Shabat;

Singer:Shlomi Shabat



2:23:57

24

Yaacov

Jacob

C

Gadi Bitton

2009

Composer:Geri Valodovski;;

singer:Laladin Ben



2:35:06

25

Meohav Ad Hashamayim

In Love up to the clouds

C

DuDu Barzilay

2010

Singer:Yoav Itzchak

2:46:57







Pertaining to this dance, we asked Naomi, the leader of the Cherry Hill session, the following questions:

Q. We believe your class was the first in this area to study Meohav Ad Hashamayim. How did you become aware of this dance?



First I had just heard of it--I'm not sure how--then a regular Cherry Hill dancer saw it at a session in California and said that she liked it, so I took a closer look at it and decided it would be a good dance to introduce to the group.

Q. We have Dudu Barzilay as the choreographer. It would seem that Dudu is one of your favorites as far as dances taught. Is this correct? What do you consider in his choreography as most attractive?

I do like many of Dudu Barzilay's dances, though I also like many dances of other choreographers.  I make decisions about dances to teach based on the particular dance, not the choreographer.

Q. One would assume that any dance taught would have its easy and hard parts per your class. What are the hard parts in teaching this dance? Does the ease or difficulty in what you perceive as to instruction influence what you decide to teach?

I don't think that most people found any parts of this dance difficult per se, though I guess one of the harder parts is the end of part 1 with the stamp in the middle and then somewhat unusual rhythm of steps coming back out of the circle.  I do not choose dances based on how difficult they will be to teach, though I try to introduce dances with a range of difficulty levels to the group (so that everyone can "get" some dances, while the more advanced people will be challenged by other dances).

26

Shmu'ot

Rumors

C

Dudu Barzilay

2007

Composer:Adi Le'on;Lyricist:Yosi Gispan;

Singer:Eyal Golan



2:19:44

27

Hakol Dvash

All is honey

P

Avi Perez

2005

Composer:Doron Mazar;;

Singer:Doron Mazar



2:10:05

28

Ten Li Batarbuka

Give me a Tarbuka

C

Gadi Bitton

2001

Singer:Hamsa

2:20:61

29

Im Tirtzi Lada[']at

If You Want to Know (said to a woman)

C

Gadi Bitton

2004




2:25:69

30

Rachamin Lev Ha'olam

Mercy is at the heart of the world

C

Avi Levy

2002

composer:lea shabat;singer:Lea and Shlomi Shabat

2:34:55

31

Secret Agent man

Secret Agent Man







1966

Composed:Steve Barri and PF Sloan;;Singer:Johnny Rivers

2:57:50
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