Netta Yerushalmy
2011 Swing Space Resident, 14 Wall Street, Vault
Netta Yerushalmy has been creating dances since 1995. Known for their unique and fierce physicality, her works distill the awkward as an aesthetic quality, and look for a sense of discomfort in movement and composition. She received a 2010 Fellowship in Choreography from the New York Foundation of the Arts, is an artists-in-residence at the TRibeca Performing Arts Center, and recently received a 2010-2012 Six Points Fellowship. Originally from Israel, Yerushalmy trained at the Misgav workshop, the Kibbutz Dance Company, Bat-Dor studios, and at NYU’s Tisch School of the Arts.
Her original work has been commissioned by International Solo-Dance-Theater Festival (Stuttgart), Danspace Project (NYC), Harkness Dance Festival (NYC), Curtain-Up Festival (Tel-Aviv), Intimadance Festival (Tel-Aviv) The Yard (Martha’s Vineyard). Her work has been presented in the USA by The Kitchen, LaMama Etc., Jacob's Pillow Dance Festival, Movement Research @ Judson Church, 92nd Street Y, Brooklyn Museum, Joyce Soho, and the Painted Bride Theater. In Israel, her work has been presented as part of International-Exposure, Different Dance Festival, and Selected-Works by the Ministry of Culture. Yerushalmy received grants from the Israel Lottery Foundation, the Lower Manhattan Cultural Council, and the Puffin Foundation. She receives support from the Israeli Consulate in New York.
As an artist-in-residence, she created new works for the Harkness Repertory Ensemble (NYC), OfMovingColors (Baton Rouge), and Misgav Workshop (Galilee, Israel). She has taught modern technique at Yasmeen Godder’s Studio (Jaffa, Israel), Bikurey Haitim Center (Tel-Aviv), OfMovingColors (Baton Rouge), The Yard, and Misgav Workshop. Yerushalmy has staged works by Doug Varone at the University of Michigan and at Point Park College. She has been a member of Doug Varone and Dancers since 2007 and has worked with Nancy Bannon, Karinne Keithley, Mark Jarecke, Noemie LaFrance, Ronit Ziv, Zoltan Nagy, and the Metropolitan Opera Ballet.
In devouring devouring, Yerushalmy is developing two choreo-graphies (etymologically, body-writings): a group work and a solo. Both opera (to be used in the group piece) and oration (to be used in the solo) make nuanced and stylized use of words, similar to the way a dancer transforms everyday movement into a refined art. What interests Yerushalmy in both cases is this relationship between the articulation of language and the articulation of the body.
