Tag Archives: dance

Moshing

Nationality: American; Half-white, "an amalgamation"
Age: 20
Occupation: Student
Residence: Pasadena/Los Angeles, CA
Performance Date: 4/26/2013
Primary Language: English
Language: Spanish, Latin

(For the best presentation of the data collected for this entry on the folk dance form of Moshing, I have provided a transcription of my interview with the informant. Interviewer input/clarification is in brackets[] for the duration of the interview.)

“I guess [moshing] is the process of…of, like, uh, throwing yourself against other people in, like, kind of a dance that can look, sometimes, like it’s like fighting, but it’s more, like, just bumping up against each other, like, kinda hard. Usually associated with, like, uh, heavier music, so like uh punk or metal or hard rock or something like that. Although I’ve seen it happen at rap concerts too. Usually any kind of aggressive or loud music. I’ve seen it happen at a dubstep concert once, too, that was weird.

“[So what is generally the process for the formation of…] a mosh pit? Generally you need, like, one guy who is not afraid to be a little out there. Cause like you need one person to be a catalyst. No one wants to be the asshole who just starts pushing people around, you know? But someone who doesn’t mind being the asshol e will start, and then it’s kind of like uh, a space, and people will recognize the mosh pit, especially if it’s at a music venue, or like a uh, uh, type of music where like, it’s commonplace. And they’ll kind of see it, and they’ll kind of spread out in a circle and they’ll kinda like back everybody up, um, and then uh, and then it’s just kind of like a circle, I guess, and, people just come in from the sides of the circle, almost like a dance circle.

“There’s kind of two parts to the mosh pit, there’s  the people who are inside the mosh pit, and then there’s the people on the edges who are still participating in it because they’re kinda like pushing people back in, like, people bump up against the side, and they’ll kinda push them back. Then there’s the people in the mosh pit, which is like…basically, there’s a direction around the circle, like they’ll be going around the circle like this (making a circular motion with hand) like against each other, and sometimes people will go the opposite way if they want to get beat up a little bit, like, more intensely. And then there’s different variations on it depending on what kind of show you’re going to.”

[What kind of variations would that be?]

“Well a big one is, um, skanking, which is, uh, you do at ska concerts, which is, uh, ska is a mix between, um, punk and reggae, but, skanking is basically like almost dancing but you’re kicking out your legs and kinda like throwing your head down a little bit and moving your arms around, but you’re also kinda bumping into people so it kinda looks like a mosh pit and feels like one, but it’s not as intense, usually. Then sometimes, uh, I don’t really have words, like a vocabulary for what these other ones are called, but, like…okay, there’s just your average one, which I guess is just called a circle pit, is what they call it, uh, and that’s people, like, running around a circle, and like pushing each other. That’s like what you’ll usually see. Sometimes in really, really crowded places it could be like a mass of people just, like, so, like, bumping up against each other. They’re just, like, swaying back and forth and like, because there’s no room to even have, start a circle pit. Um, and then…there’s other stuff too I’m not that familiar with. There’s like hardcore dancing, which is like, throwing your legs around and like, I don’t know. I don’t really know how to describe it. It looks very odd. Um, yeah, let’s see…that’s most of it. Sure, I guess.”

[So it seems like, from former experience, there are, like, rules to the mosh pit?]

“Yeah, there are definitely rules that are associated with it. A lot of it is like safety stuff, so, if somebody gets knocked down you definitely are gonna clear a space around them. Everybody in the mosh pit, like, they won’t necessarily stop but they’ll clear a space around them, and like, have people around the person, and then, uh, you’ll help them up too, I mean, it’s just common courtesy. And then, if there’s like a fight or something, they’ll try to break them up, unless it’s, kinda like a for fun fight, like that you can tell, but sometimes people get actually mad.”

[When would someone get mad?]

“Well, like, back in the day, like 1980s and shit when this stuff was like super intense, it’d be over like, almost like gangland stuff. So like, oh you’re not from, you know, my crew of like…this would happen mostly in like hardcore, especially in Los Angeles, so this is kinda specific, but, um, people get in fights over like not being in the right group of friends, or like, if you’re like associated with certain stuff. So let’s say you were, like, a Neo-Nazi or something like that, you’d probably get beat up by, you know, like anti-fascists or whatever. Um, or, uh, a lot of straightedge guys, back in the day, they’d use to, there were some straightedge militant groups that would beat up on people that were like drinking and stuff like that at shows. So there was like some stuff, but there was like regular stuff of like people just getting mad at each other, um, you know, like tensions could run high sometimes.

“Rules…well there kind of are, there’s like a structure to it, yeah, it’s just kind of funny cause like music associated with it, being just like an all-out melee but that doesn’t usually happen. I’ve never seen a total all-out melee at least. I dunno.”

[Now there’s obviously an element, of like, at least flirting with danger, would you say that’s a main draw to it?]

“Yeah, well like it’s a good release of energy. I know, like, at least for me, like once I started going to it, I kind of have to go every once in a while just to get rid of, like, any kind of tension I have. I dunno. I have this theory, this is gonna be really stupid. I have this theory that, like, it’s kind of related to, like, our primal need for like war-dancing and stuff like that because, um, well I was watching some stuff about, like Native American stuff, it’s just kinda like a similar kind of process. You need some way to get out aggression and stuff like that, like it’s a weird kind of way that would seem taboo, normally, but like, yeah, so that’s why people…I think that there’s something kind of primal about it, I guess. Yeah”

[So would you say this is tied to the music this is normally associated with it? Like does it spring from the music or is it more like applied to it?]

“Well it is, because the music is pure emotion. It’s definitely not, like, I mean, it’s not musicianship, that’s not why people go. It’s not like you’re like, a good-sounding show. People like it when it sounds, like, crappy or something sometimes. So it’s definitely about the energy of the moment, and the kind of emotional release it’s giving you. Um, but yeah. I don’t really know. I’m kind of bad with describing it, it just kinda feels like, you know, like a good release, I guess.”

[So, first show you ever went to, where you first saw moshing?]

“That I saw moshing? I think I went to, like, a Warped Tour with my friends, back in, like, sixth grade maybe. Fifth or sixth grade. And…oh, I remember what happened. So, it was the first show of the day, cause Warped Tour is set up, like, there’s like a bunch of bands or whatever, so first show of the day. Uh, my friends were more into this kind of stuff than I was, I was more into listening to stuff like industrial and stuff like that. I had like never really gone to shows because my parents had never really let me to. So this was the first show I was at, so this band called TSOL comes on, it was like this old-school punk band from like back in the day, and uh what happened was I was with my friends, and uh this humongous skinhead guy, like, uh comes over, grabs my friend by the neck, and like pulls him in as soon as the music starts playing, and there’s like this mass of people, and we were all like, ‘oh shit oh no, he has our friend’. Turns out my friend knew him, from like, it was like really weird to us so I didn’t even participate that first time I saw it. I didn’t participate until…I actually started out with doing, like, skanking and stuff first cause it’s a lot easier, like, and, in terms of getting over it, cause it looks more like dancing. And then I kind of moved into, I kinda go to like hardcore shows a lot and mosh.”

[When would you say you started getting into the more hardcore stuff?]

“Oh that was definitely when my brother, he was like always the person who, uh, who would be into the heavier music, so I think that was, like, around, let’s see…when I actually started going to hardcore shows and hardcore moshing was probably around, uh, eighth grade, ninth grade. Yeah.”

[Did you know about moshing before the first time you actually saw it?]

“Yeah, there was Youtube and stuff, so if you start off looking for your bands, you know some band or whatever on Youtube and you find some live show and you see what’s going on. It’s kinda just part of the vocabulary. I had already listened to punk music to so it was like, just like, I dunno when I first learned about it, but I’m sure it was pretty early.

“My friends were really into it, and also like the only two CDs I owned, my mom actually gave them to me, which was really funny, was like a Public Enemy CD and a Clash Greatest Hits CD, so you know I was just like listening to that kind of loud, aggressive music, I guess.

“I think it’s interesting that it’s not really limited to, like, just punk bands, it’s kind like funny when I saw it at a Dubstep thing, and then, um, I’ve seen it happen at Rap shows like twice now, and I don’t even go that often to those, so, it’s kind of funny to me.”

[Would you say there’s a kind of aspect to the music for when, like, a mosh pit usually starts?]

“Well, there’s definitely like, uh…usually it will start, like in the beginning or when they’ll do like their first little build-up. So like, okay, basically punk songs are like two minutes long so there’s not a lot of buildup but like you’ll hear a song start up and people just start going at it. But there’s usually just like some kind of um, oh I don’t know what the word it, uh some kind of, in the chorus like that they’ll usually speed up a certain part, just like ‘duh duh duh duh duh’ like that and that’s when, like, crazy, they start jumping off, like people will just start like jumping on the stage and jumping off, like doing backflips into the crowd and stuff.”

[So I guess a big thing is just, like, the emotion of the music which can kind of transcend genre.]

“It’s just fun, too, you know. Kinda just…I really don’t know why it’s fun. I have my theories, like I was saying, but it’s just, like, weird.”

 

Analysis:

Having sprung from Punk and Hardcore culture,

Merde

Nationality: American
Age: 17
Occupation: Student
Residence: Norfolk, Virginia
Performance Date: 4/14/13
Primary Language: English

In the following, my informant recounts one of her pre-performance traditions:

So, in the last few days before we’re about to do a show, we have a tradition called “merde gifting,” where, everyone in the show buys everyone else a small present or treat, and like, it doesn’t have to , they don’t have to buy it, but, like, we make cookies, or little candies, or pencils, or even stuffed animals, it depends, but just something nice to give to the rest of the cast and show them you care about them. And then I guess the other part of it is, more than just giving gifts, you tell people merde before they go on stage, which is supposed to be like, good luck. It comes from french and I think it means “shit” and it means good luck on stage, don’t step in shit, because apparently cows would poop onstage in the olden times or something, I don’t know, but yeah, we tell each other merde and give each other presents before a show.

Although my informant does not know exactly where this tradition comes from, she believes it is derived from something more closely related to the meaning behind merde. However, by now it has simply come to mean “good luck,” and my informant and her fellow performers have expanded upon the word to include gifts, and other ways of showing support. Apparently it is part of a number of traditions designed to foster support among the cast before a show, and has been around for a long time.

Luaus

Nationality: Filipino-American
Age: 19
Occupation: Student
Residence: Aiea, Hawaii
Performance Date: March 2007
Primary Language: English
Language: Tagalog

“Luaus are gatherings that you can find and go to, especially in the touristy areas of Hawaii.  Basically, people eat Hawaiian food like lomi salmon (tomatoes and smoke salmon), lau lau (meat-like chicken of fish or pork-wrapped and cooked in taro leaves), long rice (clear-looking spaghetti noodles in a soup), poi (ground up taro made into a mush), and kalua pig (traditionally cooked in a hole in the ground).  Luaus are a time to celebrate the Hawaiian culture.  Not only is there Hawaiian food, but there’s also Hawaiian music, which is usually performed by a local band or singer from the islands.  These bands and singers perform Hawaiian songs with ukuleles and other instruments.  Also, hula dancing to slow Hawaiian songs is a popular form of entertainment.  Another type of dance, the Tahitian dance, involves women who dress up in a really big skirt and wear coconut bras and move their hips around really fast.  There are also fire dancers, usually men who spin around sticks that are lit at the ends and toss around a baton thrower.”

By living in Hawaii her entire life, my informant has been exposed to luaus all the time.  Luaus are always going on and there aren’t any specific dates as to when a luau is held.  Luaus occur in hot tourist spots like the Waikiki strip or in the countryside on the North Shore, where people hang out at the beaches.  There’s also a Polynesian cultural center at the North Shore that holds luaus for tourists.  Luaus have become so popular that they’re popular among both Hawaiian natives and tourists.  She doesn’t attend luaus whenever she wants.  People hold luaus as parties, so she goes whenever she’s invited.
    Antonette thinks that luaus are great.  She considers them as parties that she attends to see her friends and family, only everything in a luau is about the Hawaiian culture.  If anything, it’s also a cultural experience, so the main idea is to celebrate the Hawaiian culture and spread it around to others.  She likes going to luaus when she has the chance because of the food, music, performances, and dancing.  Luaus allow my informant to eat Hawaiian food because she doesn’t normally eat Hawaiian food on a daily basis.  Also, she likes some of the bands that play Hawaiian or reggae music because she doesn’t listen to that type of music often, so it’s cool and exciting to see live bands and to dance on stage with friends.
When I traveled to Hawaii on vacation five years ago, I was able to experience an authentic Hawaiian luau.  Of course, the luau was staged for tourists, but I witnessed actual Hawaiian activities, food, and music.  I can definitely see why both natives and tourists enjoy going to luaus.  I was never bored during the luau because there were so many activities going on.  The Hawaiians even allowed tourists to participate by learning the different types of dances.  In addition to observing, tourists are able to learn part of Hawaiian culture.
Everything that my informant described to me was there at the luau that I attended.  I was able to observe a very entertaining Hawaiian tradition that I think is important to maintain.  Hawaii has such an incredible and unique past, and it is extremely different from the rest of the United States.  It’s important to continue the tradition so that future generations can take pleasure in attending such a distinctive custom.

Israeli Folk Dance: Hashual

Nationality: Jewish-American
Age: 54
Occupation: Electrical Engineer
Residence: Santa Barbara, California
Performance Date: March 16, 2012
Primary Language: English
Language: Hebrew

Link to Video: Hashual

My informant currently teaches Israeli folk dancing on a volunteer basis at Congregation B’nai B’rith, a synagogue in Santa Barbara, California. Every Friday night, after services, some of the congregants will participate in Israeli folk dancing.

“Hashual” is Hebrew for “fox.”

Informant’s description of dance: “This dance takes the form of a Romanian hora, reflecting Romanian influence. Its lyrics tell a story about a fox sneaking into a vineyard to steal some grapes, only to be chased away. The dance steps include kicking the fox and making clapping noises to scare it away. In performing this dance, our synagogue has a special tradition that, to my knowledge, is unique to us—small children sit in the center of the circle of dancers, where they pretend to be the foxes, screaming in terror as the dancers pretend to frighten them away.”

This relatively-new children’s dance is intergenerational, incorporating younger children into the dance tradition.

Interview: General Background on Israeli Folk Dancing

Q. How long have you done Israeli folk dancing, and where did you learn?

A. I learned some dances as a child at my synagogue and at Jewish summercamp, but became serious about folk dancing only as an undergraduate in college.

Q. Where and when is Israeli folk dancing traditionally performed?

A. In both Israel and in the United States, some Israeli folk dancing is done at almost every major celebration, including Bar and Bat Mitzvahs and at weddings.  In both countries, some avid Israeli folk dancers are avowedly secular, and rarely if ever set foot inside a synagogue, while others are fairly observant.  Many synagogues have Israeli folk dancing on a regular basis.

Q. What is a folk dance?

A. There is no universally-accepted answer to the question “What is a folk dance?”, and it may be easier to explain what a folk dance is by contrasting folk dance with ballet, ballroom dance, disco and other pop forms of dance, and ceremonial dance.  There are four things that tend to make a dance a folk dance: (1) The form and style of a folk dance should conform to tradition, at least in part. (2) Folk dances are usually done to music of traditional style, but they can also be done to more modern, popular music. (3) Folk dances are done primarily by non-professionals (as opposed to ballet). (4) While a ballroom dance form such as the waltz can be done to many different pieces of music, most folk dances are done to only a single piece of music (although more than one folk dance may exist for the same piece of music). This is not a hard-and-fast rule.  A Polish or Czech polka might be danced to many different pieces of music having the same basic rhythm and similar tempos.

Q.  Folklorist Alan Dundes defines folklore as “multiplicity and variation.” Do you believe that this definition applies to Israeli folk dance?

A. For many Israeli folk dances, variants have developed over time.  In some cases, no one follows the original steps.  Some dances are done one way in Israel, a second way in the New York area, and a third way in California.  When people who have learned different variants dance together, this may create some mild friction, because the group as a whole is collectively producing a work of art when dancing, and the effect may be spoiled or at least marred if movements are discordant.

Q. How old is Israeli folk dance, and what cultures and traditions have influenced Israeli folk dance?

A. Israeli folk dance has been influenced by many folk dance traditions, and especially since 1970, by such non-folk-dance styles as ballet and jazz dance. Some Israeli dances (e.g., Yo Ya) have no folk elements at all, and are strictly speaking outside the stylistic limits of what can be considered folk dance. Most of the folk elements in Israeli dance come from older dance traditions.  Conveniently, these fall into four groups which I will list in order of decreasing importance: Yemenite Jewish dance, Eastern European dance, Hassidic Jewish dance, and the dances of two non-Jewish ethnic minority groups in Israel—Bedouin Arabs and Circassians.

The dances of the Halutzim (Jewish pioneers who came to what was then Palestine, beginning in the late 1800′s) were adaptations of such Eastern European folk dances as the Hora (Romanian), Krakoviak and Polka (Polish), and Korobushka (Russian). Some of these were introduced by the Socialist Zionists during the Second Aliyah period (approximately 1905-1914), when the first Kibbutzim (communal farms) were established.

The earliest true Israeli folk dances date back to the 1920′s and 1930′s. Hora Aggadati, choreographed in 1924, is probably the first true Israeli folk dance. Mayim Mayim was created in 1938 to commemorate the discovery of water at Kibbutz Na’an after a 10-year search. (The Hebrew word “Mayim” means “water”).

Shortly after the state of Israel was established in 1948, Israel began an amazing operation called Magic Carpet. From June 1949 through August 1950, nearly 50,000 Yemenite Jews were airlifted to Israel by the Israeli government.   Jews were a persecuted and impoverished minority in Yemen, but after arriving in Israel, the Yemenite Jews soon began to have an important influence in all aspects of the arts, music, and dance.  Over 400 years old, the Yemenite Jewish dance tradition is one of the oldest and certainly the most important of the various strands that have contributed to Israeli dance.

In the 1950s, Israeli choreographers began introducing elements of Hassidic dance into Israeli folk dance. Hassidism is a mystical Jewish movement that began in Eastern Europe about 1740.  For the Hassidim, dance is not only an expression of joy and celebration, but also a form of prayer. Like other Orthodox Jews, Hassidic men and women never dance together.  Some elements of Hassidic dance are suggestive of prayer; these include rocking or swaying, heel touches, and raising one or both hands with the palm inwards, as though appealing to God.  At times, the styling of a Hassidic dance suggests intoxication, whether the source of the intoxication is religious fervor, alcohol, or a combination of the two is unclear.

Some Israeli dances, especially in the early days before Israel became a state (1948), were influenced by dances of two local non-Jewish ethnic groups, the Bedouin and the Circassians.  (The Bedouin are Arabs who were originally nomadic.).  The Bedouin dance form known as the Debka is a macho dance that the men do to impress the women; it typically includes stamps and unusual leaps (e.g., sideways leaps or crossover leaps). The Circassians are a tiny minority group in Israel; they are Moslem, but not Arab. They originally lived in the area between the Black Sea and the Caspian Sea.  After they were conquered by the Russians in 1864, many of the Circassians fled to various parts of the Turkish (Ottoman) Empire, including Palestine.

Q. What makes Israeli folk dancing special?

A. Firstly, although Israeli folk dance is relatively new (roughly 80 years old), it is founded on much older Jewish and non-Jewish folk dance traditions. Also, unlike many folk dance traditions that have tried to remain “pure”, shunning outside influences or denying the existence of these influences, Israeli folk dance is continually absorbing influences from other folk and non-folk dance forms, and no one is the least bit ashamed of this.

Meanwhile, unlike many folk dance traditions, Israeli folk dance is highly egalitarian. In Israeli folk dance, there are no men’s dances or women’s dances. Anyone is free to do any dance. Also, in a Greek line dance, the dance leader (almost always a man) has a special role; he may direct the rest of the line to follow whatever he is doing, or he may choose to do special steps that are different from what everyone else is doing.  In Israeli folk dance, the leader of a line dance can choose where the line goes, but otherwise he or she has no special steps and no special prerogatives. The egalitarian nature of Israeli folk dance is a reflection of the early Zionist-socialist ideals, which taught that men and women are equal, and that no one should have any special status.

Q. Are new Israeli folk dances still written?

A. Israeli folk dance is growing and evolving more rapidly than any other folk dance tradition in the world. Some folk dance traditions are small and relatively static. For instance, there are only about 30 Greek folk dances.  Someone cannot just choreograph a new Greek folk dance and have it accepted into the canon. Some folk dance traditions are larger and more dynamic. For example, there are roughly 4,000 Romanian folk dances; some of these are believed to be more than 1,000 years old, but several Romanian folk dances were introduced in just the last decade (almost one new dance per year).

There are over 4,000 Israeli folk dances, and 50-100 new Israeli folk dances are introduced each year. To be fair about this, there are at least 200-300 Israeli folk dances that are “dead,” meaning that they are no longer danced.  Some Israeli dances have had brief flashes of popularity and then faded from the scene.  But, many Israeli dances have endured and remain popular half a century after their introduction.

Israeli Folk Dance: Avre Tu

Nationality: Jewish-American
Age: 54
Occupation: Electrical Engineer
Residence: Santa Barbara, California
Performance Date: March 30, 2012
Primary Language: English
Language: Hebrew

Link to video: Avre Tu

My informant currently teaches Israeli folk dancing on a volunteer basis at Congregation B’nai B’rith, a synagogue in Santa Barbara, California. Every Friday night, after services, some of the congregants will participate in Israeli folk dancing.

Informant’s description of dance: “This is a dance in the Ladino style. The Ladino language, or Judeo-Spanish, is very close to Spanish as it was spoken in the late middle ages. This particular dance is thought to be similar in style to Spanish dance of the late middle ages, although there is of course no way to verify this. The lyrics are a pleading romance.”

Ladino Jews—Jews expelled from Spain in the fifteenth century—travelled to the countries which accepted them, including Turkey, Bulgaria, Yugoslavia, and North Africa. Because they continued to live in Spanish-Jewish communities, many of their traditions, melodies, dances, etc. survive to this day. “Avre Tu” is one such dance. Now, of course, many non-Spanish Jews dance “Avre Tu”; the Ladino tradition is one of many diverse traditions from around the world that has been incorporated into creating Israeli culture.

Interview: General Background on Israeli Folk Dancing

Q. How long have you done Israeli folk dancing, and where did you learn?

A. I learned some dances as a child at my synagogue and at Jewish summercamp, but became serious about folk dancing only as an undergraduate in college.

Q. Where and when is Israeli folk dancing traditionally performed?

A. In both Israel and in the United States, some Israeli folk dancing is done at almost every major celebration, including Bar and Bat Mitzvahs and at weddings.  In both countries, some avid Israeli folk dancers are avowedly secular, and rarely if ever set foot inside a synagogue, while others are fairly observant.  Many synagogues have Israeli folk dancing on a regular basis.

Q. What is a folk dance?

A. There is no universally-accepted answer to the question “What is a folk dance?”, and it may be easier to explain what a folk dance is by contrasting folk dance with ballet, ballroom dance, disco and other pop forms of dance, and ceremonial dance.  There are four things that tend to make a dance a folk dance: (1) The form and style of a folk dance should conform to tradition, at least in part. (2) Folk dances are usually done to music of traditional style, but they can also be done to more modern, popular music. (3) Folk dances are done primarily by non-professionals (as opposed to ballet). (4) While a ballroom dance form such as the waltz can be done to many different pieces of music, most folk dances are done to only a single piece of music (although more than one folk dance may exist for the same piece of music). This is not a hard-and-fast rule.  A Polish or Czech polka might be danced to many different pieces of music having the same basic rhythm and similar tempos.

Q.  Folklorist Alan Dundes defines folklore as “multiplicity and variation.” Do you believe that this definition applies to Israeli folk dance?

A. For many Israeli folk dances, variants have developed over time.  In some cases, no one follows the original steps.  Some dances are done one way in Israel, a second way in the New York area, and a third way in California.  When people who have learned different variants dance together, this may create some mild friction, because the group as a whole is collectively producing a work of art when dancing, and the effect may be spoiled or at least marred if movements are discordant.

Q. How old is Israeli folk dance, and what cultures and traditions have influenced Israeli folk dance?

A. Israeli folk dance has been influenced by many folk dance traditions, and especially since 1970, by such non-folk-dance styles as ballet and jazz dance. Some Israeli dances (e.g., Yo Ya) have no folk elements at all, and are strictly speaking outside the stylistic limits of what can be considered folk dance. Most of the folk elements in Israeli dance come from older dance traditions.  Conveniently, these fall into four groups which I will list in order of decreasing importance: Yemenite Jewish dance, Eastern European dance, Hassidic Jewish dance, and the dances of two non-Jewish ethnic minority groups in Israel—Bedouin Arabs and Circassians.

The dances of the Halutzim (Jewish pioneers who came to what was then Palestine, beginning in the late 1800′s) were adaptations of such Eastern European folk dances as the Hora (Romanian), Krakoviak and Polka (Polish), and Korobushka (Russian). Some of these were introduced by the Socialist Zionists during the Second Aliyah period (approximately 1905-1914), when the first Kibbutzim (communal farms) were established.

The earliest true Israeli folk dances date back to the 1920′s and 1930′s. Hora Aggadati, choreographed in 1924, is probably the first true Israeli folk dance. Mayim Mayim was created in 1938 to commemorate the discovery of water at Kibbutz Na’an after a 10-year search. (The Hebrew word “Mayim” means “water”).

Shortly after the state of Israel was established in 1948, Israel began an amazing operation called Magic Carpet. From June 1949 through August 1950, nearly 50,000 Yemenite Jews were airlifted to Israel by the Israeli government.   Jews were a persecuted and impoverished minority in Yemen, but after arriving in Israel, the Yemenite Jews soon began to have an important influence in all aspects of the arts, music, and dance.  Over 400 years old, the Yemenite Jewish dance tradition is one of the oldest and certainly the most important of the various strands that have contributed to Israeli dance.

In the 1950s, Israeli choreographers began introducing elements of Hassidic dance into Israeli folk dance. Hassidism is a mystical Jewish movement that began in Eastern Europe about 1740.  For the Hassidim, dance is not only an expression of joy and celebration, but also a form of prayer. Like other Orthodox Jews, Hassidic men and women never dance together.  Some elements of Hassidic dance are suggestive of prayer; these include rocking or swaying, heel touches, and raising one or both hands with the palm inwards, as though appealing to God.  At times, the styling of a Hassidic dance suggests intoxication, whether the source of the intoxication is religious fervor, alcohol, or a combination of the two is unclear.

Some Israeli dances, especially in the early days before Israel became a state (1948), were influenced by dances of two local non-Jewish ethnic groups, the Bedouin and the Circassians.  (The Bedouin are Arabs who were originally nomadic.).  The Bedouin dance form known as the Debka is a macho dance that the men do to impress the women; it typically includes stamps and unusual leaps (e.g., sideways leaps or crossover leaps). The Circassians are a tiny minority group in Israel; they are Moslem, but not Arab. They originally lived in the area between the Black Sea and the Caspian Sea.  After they were conquered by the Russians in 1864, many of the Circassians fled to various parts of the Turkish (Ottoman) Empire, including Palestine.

Q. What makes Israeli folk dancing special?

A. Firstly, although Israeli folk dance is relatively new (roughly 80 years old), it is founded on much older Jewish and non-Jewish folk dance traditions. Also, unlike many folk dance traditions that have tried to remain “pure”, shunning outside influences or denying the existence of these influences, Israeli folk dance is continually absorbing influences from other folk and non-folk dance forms, and no one is the least bit ashamed of this.

Meanwhile, unlike many folk dance traditions, Israeli folk dance is highly egalitarian. In Israeli folk dance, there are no men’s dances or women’s dances. Anyone is free to do any dance. Also, in a Greek line dance, the dance leader (almost always a man) has a special role; he may direct the rest of the line to follow whatever he is doing, or he may choose to do special steps that are different from what everyone else is doing.  In Israeli folk dance, the leader of a line dance can choose where the line goes, but otherwise he or she has no special steps and no special prerogatives. The egalitarian nature of Israeli folk dance is a reflection of the early Zionist-socialist ideals, which taught that men and women are equal, and that no one should have any special status.

Q. Are new Israeli folk dances still written?

A. Israeli folk dance is growing and evolving more rapidly than any other folk dance tradition in the world. Some folk dance traditions are small and relatively static. For instance, there are only about 30 Greek folk dances.  Someone cannot just choreograph a new Greek folk dance and have it accepted into the canon. Some folk dance traditions are larger and more dynamic. For example, there are roughly 4,000 Romanian folk dances; some of these are believed to be more than 1,000 years old, but several Romanian folk dances were introduced in just the last decade (almost one new dance per year).

There are over 4,000 Israeli folk dances, and 50-100 new Israeli folk dances are introduced each year. To be fair about this, there are at least 200-300 Israeli folk dances that are “dead,” meaning that they are no longer danced.  Some Israeli dances have had brief flashes of popularity and then faded from the scene.  But, many Israeli dances have endured and remain popular half a century after their introduction.