вЂњTo be honest, I was surprised that she asked me,вЂќ said Deal, whoвЂ™d danced at the same studio with Linsky for a couple of years growing up. When Boston-based dancer Imani Deal got an email from Linsky in late 2019 or early 2020 inviting her to participate in a dance project engaging with the Holocaust, she wasnвЂ™t sure she was the right fit. Lingering on the storiesД¬horeographed by Rachel Linsky: Gabriela Amy Moreno and Imani Deal perform in вЂњThe Schulhoff Collaboration.вЂќ вЂњI have never once doubted the power that dance has and what dance can do,вЂќ she said. Intrigued by the possibilities and eager to pursue her career in dance upon graduation, she applied for a choreographic residency to expand on her Yom Hashoah piece. And on the other side, it brought dance - and another path to immersion in Holocaust testimony - to non-dancers in the Jewish community. вЂњI believe, for many reasons, itвЂ™s important for not just the Jews to be studying and preserving our own history,вЂќ she said. But here, sheвЂ™d helped create a broader opportunity for Holocaust education. Up until that point, Holocaust education had always been steeped in a Jewish context for Linsky: Jewish day school, camp, temple, the JCC. One friend said it was beautiful, others were drawn to the performances and speeches. Overall, she found, they were interested and engaged.

вЂњI checked in with some people afterwards,вЂќ Linsky said. As she was sitting in the service, which included prayers, speeches and performances, she found herself wondering if they were comfortable. The Jewish community at Elon was small at the time, especially within the dance department, and the friends and classmates Linsky invited to see вЂњDo I Want to Remember?вЂќ were a diverse bunch - some dancers, some not some Jewish, some not. I have to remember and never let you forget.вЂќ But how can I forget?вЂќ eventually becomes, вЂњNo. The refrain at the end of each stanza, вЂњNo, I donвЂ™t want to remember. Linsky knew she wanted to use a poem - вЂњIвЂ™ve always found text as a really inspiring way to generate movement,вЂќ she said - and landed on words from Holocaust survivor Alexander Kimel that she incorporated into the score. The following year, Linsky was taking a Hebrew class with that same professor, who is also a Holocaust scholar he asked her again. But IвЂ™d love to do it next year,вЂ™вЂќ she said. вЂњAnd I was like, вЂWell, itвЂ™s tomorrow, and you just asked me today! So I canвЂ™t make that happen. Why arenвЂ™t you putting on a dance piece?вЂќ Linsky recalled. It was the day before that yearвЂ™s Yom HaShoah services and one of her favorite professors, Boaz Avraham-Katz, who was planning the programming, suddenly had a thought: Another student, he said, вЂњput together a theater piece for Yom HaShoah. The story of ZACHOR began two years earlier, when Linsky was a junior at Elon University in North Carolina studying dance performance and choreography and arts administration. Hidden From View: Mindy Phung performs in Rachel LinskyвЂ™s вЂHidden.вЂ™. Their bodies undulate in a motion that seems to originate deep in their guts as they fold in on themselves. Their hands open, palms up, almost as if holding a prayer book. The dancersвЂ™ feet are planted in place, standing in ranks. This image insinuated itself into LinskyвЂ™s mind and body as she choreographed вЂњSelection,вЂќ a five-minute dance film captured outdoors in August 2020 at the New England Holocaust Memorial in Boston. I donвЂ™t know whether, during the history of the Jewish people, men have ever before recited Kaddish for themselves.вЂќ вЂњSomeone began to recite Kaddish, the prayer for the dead.

Everybody around us was weeping,вЂќ he writes. Wiesel, awash in disbelief and contemplating whether to throw himself at the electrified barbed wire, looks to his father. Convinced they are marching to their deaths, the father laments that his son hadnвЂ™t gone with his mother. Twice, Wiesel and his father move to the left, first away from his mother and sisters and then toward an unknown fate: either the crematoria or the barracks. Wiesel and his family have just arrived at Auschwitz. ThereвЂ™s a moment in Elie WieselвЂ™s вЂњNightвЂќ that seared itself into Rachel LinskyвЂ™s consciousness in the spring of 2020.

Choreography for step up movies