She put modern dance on a new footing by infusing it with dramatic expression and social consciousness. Now, Anna Sokolow, the revolutionary Jewish choreographer who inspired many of the leading actors and dancers of the 20th century, takes center stage again next week in two shows that commemorate her remarkable legacy. Highlights from her work will be performed in “Anna Sokolow Way,” and dancers who worked with her will recount their memories and demonstrate her techniques in “From the Horse’s Mouth.” The shows are being performed in repertory through this weekend at the 14th Street Y.
The Israeli choreographer Emanuel Gat has a theory about artistic creativity. Basically, there are two types of artists: one has a fairly clear vision of the work he wants to create before he begins, while the other has no idea at all. Instead, this latter type only uncovers something that already existed; he is merely a midwife, or as Gat puts it, a sort of scientist discovering hidden laws of nature that have existed all along.
Four years ago, Victoria Neznansky was faced with a difficult task. She was the newly hired chief program officer at the YM & YWHA in Washington Heights, which serves a predominantly Dominican community. And it was her responsibility to find a way to attract families from the area’s Jewish population, which had been dwindling for decades — all without alienating the dominant population.
In the 1970s, Ohad Naharin’s career as a dancer in Israel was just taking off when he left for America to be with his wife. Naharin was, at the time, one of Batsheva’s most promising dancers, doted on by Martha Graham, the iconic American choreographer who helped train many performers in the budding Israeli company. But then he met Mari Kajiwara, an American dancer with the Alvin Ailey company.