1972-1978: composing and performing with dancer-choreographer Rachel Kafri, an important avanguard creator in Israeli dance. "Od sadoth" was written for Bath -Sheva 2 (the younger sister of Bath Sheva, more experimental) and had a mixture of daily life sounds and motions in dance and music. We did a lot of things together , and the photo was taken in 1/5/77 - a political rally in the leftist "Zavta" auditorium and was dedicated to the Israeli "Black Panthers" who were accused of stealing milk and spread it for poor people. on Rachel dress you can see name of one of the leaders, Charli Beaton, and the name of this episode - "He who steals milk-will pay".
YOSEF THE DREAMER (1979) for the BAT DOR ensemble - A choreography by famous dancer and choreographer MIRALI SHARON - The biblical story of Yosef and his relations with his family and the Egyptian court. The work, which was commissioned by an international bible conference in Jerusalem, lasts almost an hour and has 12 parts, as the number of Yosef and his brothers, but each part stand for itself.
There is a great part for percussion instruments and a vocal part in the bass register, represents the other brothers.
This is still my deepest effort in the dance art. I continued working with Mrs. Sharon own ensemble: Phoenix and Phoenix 2 (1980, 1985), Trilogy (1984), which were performed in Europe and U.S.A. and I worked with her in many theater productions. I mention two: "A simple story " (Habima - adaptation of Shay Agnon novel -1977) and "The 7 beggars (the Khan theatre- adaptation of Rabbi Nachman tale -1979).
PHOENIX 1 - Mirali Sharon, 1980. Mirali decided to have her own group and be independent in her decisions. Rehearsals were in her studio, and she could record them on a video camera, a technique which was new in Israel.
YAAKOV - INBAL DANCE COMPANY (-1976) choreography - Sara Levi Tanay, artistic director. Yaakov - Nisim Garame. Voices - Zadok Zubery , Lea Avraham.
Sara and the Inbal group did a lot of work, starting in the early fifties, restoring and preserving the Yemenite folklore - music, dance, clothes ,rituals, etc. and always worked with live music which was produced by its own members. but times changed in the 70's - almost every dance group had used recorded music and the audience got used to bigger sounds. Both Garame and Zubery had later hit songs and careers in the Mediterraean genre of singing, but this particular work was different in style, orchestration and development of structure. However I learned to use the Yemenite rhythm of 7 called DAASA for the biblical text.