I recall a funny moment when one evening, after a long day of field training I took a shower in an army style field shower, together with other soldiers in adjacent showers. I wanted to use the moment of standing under a hot stream of water to stretch and limber my body, so I engaged in some typical ballet stretches\u2026 I immediately became a laughing stock for the soldiers around me who have never seen a guy engaging in such strange activity. And I became the Dancing Soldier.<\/p>\n
![\"\"](\"https:\/\/performingartslegacy.org\/perryigal\/wp-content\/uploads\/sites\/246\/2022\/01\/army0001-229x300.jpg\")
With my friend Ilan Shani. We met at the army camp and have become closest friends for life.<\/p><\/div>\n<\/p>\n
Once I resumed my training and rehearsals with the company I found myself having a very difficult daily routine. I would wake up very early to start my day at the army camp, with the usual \u2018Misdar Ha\u2019Boker\u2019 (The Morning Order), then go through the day fulfilling my duties (often thinking about dance steps rather than marching steps), and finally being released to go to my scheduled rehearsals. I would walk to the company\u2019s studio, which luckily was very close to the army camp, shed my uniform to be replaced by leotard and tights, and ceremoniously took off my army boots to make room for soft ballet shoes \u2013 haa\u2026 what a nice feeling! I overheard one of the dancers exclaiming \u201chere comes the dancer in the army boots\u201d \u2013 we had a good laugh\u2026<\/p>\n
During my army service, the company went several times on tours abroad. For those periods I was granted a special vacation time, so I could join the company on tour. These were the highlights of that period, but the experience was bittersweet. On the one hand there was a distinct feeling of freedom. Not only did I not have to follow a military regimen, but I was ABROAD, free from the idiosyncrasies of Israeli life (the grass is always greener on the other side\u2026). And then came the down feeling, having to resume my military life. The contrast with the big world, now but a fleeting memory, was painful. But I had something to look forward to \u2013 resuming rehearsals and working with wonderfully creative people. I survived.<\/p>\n
![\"\"](\"https:\/\/performingartslegacy.org\/perryigal\/wp-content\/uploads\/sites\/246\/2022\/01\/Igal-and-Lea-Whirligigs-Bat-Dor-214x300.jpg\")
With Leah Manor in Lar Lubovitch’s Whirligogs – Bat Dor photo: Mula and Haramati<\/p><\/div>\n<\/p>\n
![\"\"](\"https:\/\/performingartslegacy.org\/perryigal\/wp-content\/uploads\/sites\/246\/2022\/08\/BatDor.Bachianas-Brasilieras_003-300x211.jpg\")
1968 My first professional performance – Job Sanders: “Bachianas Brazileiras” (l. to r. Igal Berdichevsky, Jeannette Ordman, Igal Perry, El Gabriel – photo: Mula and Haramati<\/p><\/div>\n<\/p>\n
![\"\"](\"https:\/\/performingartslegacy.org\/perryigal\/wp-content\/uploads\/sites\/246\/2022\/08\/BatDor.Duet-Cho-Paul-Taylor_001-225x300.jpg\")
With Miri Leshem in Paul Taylor’s “Duet” – photo: Mula and Haramati<\/p><\/div>\n<\/p>\n
2. The Transition years (from Dancing to Teaching\/Choreographing\/Directing )<\/strong> \u2013 Shortly after completing my military service I took a year off from Bat Dor to dance with Rotterdams Dansentrum in Holland (see The Holland Year). Upon returning, I re-joined the company, and initially immersed myself in my role as a lead dancer. In 1973 the company toured South America, and during that tour I contracted some mysterious stomach ailment, which hindered my ability to dance fully. 7 doctors (with 17 opinions) later, I was sent home to take care of my health. A side note, my trip home took me through New York City, and spending 2 days there, on my own, roaming Times Square, Washington Square and the Village were very memorable for me \u2013 I fell in love.<\/p>\n I slowly recovered and resumed dancing, but soon began pursuing additional interests, being truly drawn to the creative aspects of teaching, choreographing and directing. I assumed a position as a teacher at the Bat Dor school, and a position as rehearsal director for the company. I also got my first chance to choreograph for both the school and the company. My very first work for the school was \u2018Episode\u2019 to Ravel\u2019s string quartet (see My Choreography\/Episode). For the company I made \u2018Beyond The Mirror\u2019 to a collage of music by Henk Baddings and others.<\/p>\n My First Choreography – “Beyond the Mirror” (l. to r. David Dvir, Daniel Ambash) – photo: Mula and Haramati<\/p><\/div>\n<\/p>\n 3. The remote years \u2013 going home feels so rewarding<\/strong><\/p>\n Having settled in New York City as my new base, I have not let go of my deep connection to Bat Dor, which in my mind gave me so much nurturing and support. I remained close with the company\u2019s artistic director, Jeannette Ordman, who kept supporting my journey, not unlike a parent supporting their child venturing onto the world out there. I was invited often to create new works for the company and to teach whenever I was visiting. Jeannette visited my newly established school in New York, and in her motherly manner gave her approval. I knew then I made the right choice. Onward with my new adventures\u2026<\/p>\n Choreography for Bat Dor – “Symphony of Psalms” – photo Mula and Haramati<\/p><\/div>\n<\/p>\n[aesop_gallery pslightbox=”on” transition=”crossfade” caption=”1. Lar Lubovitch’s Whirligogs 2. Paul Taylor’s Three Epitaphs 3. Paul Sanasardo’s Voices 4. Rudi Van Dantzig’s Ramifications 5. Robert Cohen’s Place of Change 6. Lucas Hoving’s Kalaidoscope 7. Job Sander’s Bachianas Braziliers 8. Lar Lubovitch’s Poem of Joy” galleryType=”grid” id=”806″]\n[aesop_gallery pslightbox=”on” transition=”crossfade” caption=”Igal Perry’s Passages” galleryType=”grid” id=”805″]\n[aesop_gallery pslightbox=”on” transition=”crossfade” caption=”Igal Perry’s Symphony of Psalms” galleryType=”grid” id=”804″]\n[aesop_gallery pslightbox=”on” transition=”crossfade” caption=”Igal Perry’s Illusion” galleryType=”grid” id=”803″]\n[aesop_gallery pslightbox=”on” transition=”crossfade” caption=”Top 2: Igal Perry’s Upon Thy Walls Others: Igal Perry’s Meditations (All Photos on this page by Mula & Haramti)” galleryType=”grid” id=”802″]\n","protected":false},"excerpt":{"rendered":" I joined Bat Dor dance company in 1986 and worked with the company through the summer of 1976. My time with Bat Dor was divided into 3 distinct periods: 1. The Army years \u2013 I was drafted to the Israeli army shortly after joining the company. I have barely begun my dance training, and the […]<\/p>\n","protected":false},"author":267,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-289","post","type-post","status-publish","format-standard","hentry","category-highlight"],"metadata":{"_edit_last":["276"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"ase_chapter_enable_timeline":["off"],"ase_map_component_zoom":["16"],"_edit_lock":["1703011692:267"],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:32.07;s:3:\"lng\";d:34.79;}"],"ase_mapbox_style":["openstreet"]},"acf":[],"yoast_head":"\n![\"\"](\"https:\/\/performingartslegacy.org\/perryigal\/wp-content\/uploads\/sites\/246\/2022\/08\/BatDor.Beyond-the-Mirror_003-300x219.jpg\")
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