About the gallery curator:
Nicole Bindler is a body-based performing artist whose work is inspired by her training in new dance, dance-theater, Contact Improvisation, Butoh, Body-Mind Centering®, Yoga and Feldenkrais. Her work has been shown throughout the U.S., Canada, Argentina, Berlin, Tokyo, Beirut, Bethlehem, Mexico and Quito. Her work has been supported by Foundation for Contemporary Arts, Pennsylvania Council on the Arts (through Pennsylvania Partners in the Arts), the Pew Center for Arts and Heritage, Leeway Foundation, Puffin Foundation, FringeArts, Philadelphia Dance Projects and the Community Education Center. Bindler holds a B.A. in Dance and Poetry from Hampshire College, a degree in Muscular Therapy from the Muscular Therapy Institute, and certificates in Embodied Anatomy Yoga, Embodied Developmental Movement and Yoga, and Somatic Movement Education from the School for Body-Mind Centering. She is on the adjunct faculty at the University of Pennsylvania, University of the Arts and Temple University in Philadelphia. She is a member of the Jewish Voice for Peace Artist Council, a member of Mascher Space Cooperative, a writer for thINKingDANCE and one half of the duo The Dance Apocalypse. http://www.nicolebindler.com
About the gallery:
I'm interested in exposing the ways that Israeli contemporary dance is disproportionately visible on the world stage, and Palestinian dance is marginalized. How does dance and culture reflect and perpetuate existing power dynamics? I have collaborated with Palestinian dancers and I am currently organizing a U.S. tour for them. This gallery includes some of my writing about our artistic process together in Bethlehem, and about the cultural boycott of Israel. I've also interviewed Jewish-American dance artists who have strong ties to Israel, and grapple with their Zionist upbringings through their choreographic process. I am currently working on several pieces of writing about Palestinian and Israeli dance presented at New York Live Arts this season, which will be posted here in the coming months. Dance is ephemeral, here and gone, here and gone. Writing about dance is an imperfect history because it is disembodied. But writing dance can keep the ideas alive and disseminate these new practices to audiences far wider than can be reached by a single performance.