Fresco Dance & Art Center

About Fresco Art & Dance Center

Crowded rows of stalls fill the 4th floor plaza at the central bus station. In the space between the fast-food restaurant and the cheap clothing stores, you can find almost anything you can think of: trinkets, multi-prints and sequins, a maze of Asian food stands ready from the nearby supermarket, with unfamiliar vegetables and rattles. Above all, the loudspeaker stores the hip-hop clothes, which deafens the ears at 11 am.

But at the end of the plaza, on the far left side, another world. Behind a heavy, transparent glass door, the unprepared visitors skip a different reality. A wooden floor and freshly painted walls, a scented lemony scent floating in the air, and three wide work spaces, stylized for the dance that are the top of the conditions, waiting in inviting silence. This is an early morning on a weekday last week, and in his large studio, large enough for a modest tribune where a crowd of up to 100 people can be seated to watch the show, the dancers of the chorus group Yoram Carmi are already stretching long and flexible limbs.

This is the band’s new home, which moved to it, about its unexpected location, just two months ago. But after being a formal, large and stable home, it is possible that it brings with it a necessary message to the world of independent local dance: after the demolition of the Bikurei Ha’itim center, but Nachmani, after the second warehouse of the choreographers association was closed under dubious circumstances, however, Yaron Yerushalmi and the surrounding buildings were closed for long renovations, In Tel Aviv, in the heart of the dilapidated building and the social periphery, new blood is found. A new center for independent Israeli dance.

Karmi’s new work is expected to rise, and at the same time, the plans for the dance center will also increase. During the holiday of Passover, hundreds of students from dance disciplines will be hosting a few day conference. The schedule of the various stadia is filling up and the artists’ programs are taking shape, which will finance the hiring of a studio for several months of work for independent and promising choreographers. The future of the site – originally created more than a decade ago by choreographer Ido Tadmor and his band, abandoned and turned into Sophie Moskowitz’s acting school, abandoned again after her death and now resurrected – looks promising. Perhaps this is really due to the combination of current need and supply, and perhaps it is related to the fact that “Fresco” is a mainstream, not a Fringe, band in a region that desperately needs institutional stability and legitimacy.

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