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Pytt i Panna Dear and Beloved visitor Pytt i Panna is a dance group, and all the information you'll need can be found right here. A enable you to send an e-mail. A wherever you find it, will always take to the main page. Do you wish to change or correct something? Contact us!

The dancers The group Preformences Choreographers Press & Contacts & Links

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  The dancers

Boaz Cohen	Talia Paz	Eytan Sivak	Yamit Kalef	Rafi Sadi

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Boaz Cohen

Received his first dance instruction at the dance school associated with the Kibbutz Contemporary Dance Company in Israel.
He was awarded a scholarship from the American /Israeli Cultural Foundation in 1982, to attend the Jacob's Pillow Summer School in the United States.

In 1982 he joined the Kibbutz Company, where he danced in choreographies by, among others, Jiri Kylian, Christopher Bruce and Mats Ek. He was engaged by the Cullberg Ballet in 1989, where he worked with, apart from the above mentioned choreographers, Ohad Naharin and William Forsythe.

Parallel to this employment, he has participated in projects by Kenneth Kvarnström, Nathalie Ruiz, a television production by Jens Östberg, "February Phase" by Örjan Andersson and a theater piece by Mats Ek, "On Malta".

 

 

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Talia Paz

Started her dance education at a private school in Tel-Aviv followed by the Bat-Dor Dance School.
She received a scholarship from the American/Israeli Cultural Foundation and continued her education at the Royal Conservatory of Dance in The Hague, Netherlands.

In 1987 she began with the Batsheva Dance Company in Tel-Aviv working with choreographers such as, Ohad Naharin, Daniel Ezrelow and Elisa Monte.
She joined the Scapino Ballet in the Netherlands in 1990, where she worked with Nils Christe and Ed Wubbe.

In April 1992 she won an award as Best Female Dancer in the First International Modern Dance Competition in Tel Aviv.

In the autumn of 1992 she received a contract with the Cullberg Ballet, consequently working with Mats Ek and Carolyn Carlson.

 

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Rafi Sadi

Began his dance training at the Bat-Dor School in Tel-Aviv and then joined the Bat-Dor Company for two years.
He received a scholarship from the American/Israeli Cultural Foundation in 1980.

In 1985 he started as a soloist with the Ballet du Grand Théâtre in Geneva and remained there for seven years. During this time he worked with many choreographers, among them: Christopher Bruce, Jiri Kylian, Ohad Naharin and Oscar Ariaz.
He was a guest with the Het National Ballet in Amsterdam in 1988 for a role in a ballet by Tor van Scheik.

Since 1992, as a member of the Cullberg Ballet, he has worked with Mats Ek and Carolyn Carlson, and in projects by Jens Östberg for Swedish Television and "February Phase" by Örjan Andersson.

 

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Yamit Kalef

Started dancing at the Elena Kalef School of Dance in Naharya, Israel.
She entered the Bat-Dor Dance School while simultaneously studying at the Thelma Yalin High School for the Arts in Tel Aviv. She continued her education at the National Ballet School of Canada in Toronto, where she received a Canada Council Grant after graduation.

She then joined the Ballet du Grand Théâtre in Geneva in 1992, where she worked with choreographers such as Ohad Naharin, Christopher Bruce and Jiri Kylian.

In 1995 she became a member of the Cullberg Ballet in Stockholm, where she has also danced works by Mats Ek and Carolyn Carlson.

 

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Eytan Sivak

Instigated his dance study at a private school in Natanya.
He continued his training at the Bat-Dor Dance School in Tel-Aviv and then performed with the Bat-Dor Dance Company as member for two years.

In 1989 he joined Les Ballet Jazz de Montreal, and a year later was with Scapino Ballet in Amsterdam until 1993.

He has worked with many choreographers including Hans van Manen, Lar Lubovitch, Paul Taylor, Daniel Ezralow, Ed Wubbe, and Nil Christe. Following his work at Scapino Ballet, he was engaged by the Cullberg Ballet , and then worked with Mats Ek, Ohad Naharin and Carolyn Carlson.
He has also participated in projects in Israel and "February Phase" by Örjan Andersson in Stockholm.

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  Choreographers

  Pytt i panna has the privilege of having some of the most talanted
  choreographers in europe doing their works especially for them.

   

Rami Levi Jens Östberg Örjan Andersson Philippe Blanchard

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Their Works "DOS" "STEEP IN THE NEW ZONE" "ARRIVLE OF THE QUEEN SHEBA" "WITHIN SHORTLY"

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Rami Levi

Began his dance education at the Bat-Dor Dance School and was awarded a scholarship from the American/Israeli Cultural Foundation. He joined the Centre Choreographique National in Tours in 1989, remaining there for three years. In 1991 he became a member of the Cullberg Ballet before entering the Compañia Nacional de Danza in Spain in 1994. He has worked with choreographers such as Mats Ek, Ohad Naharin, William Forsythe, Jiri Kylian and Ramon Oller.

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"DOS" "A moment in a couple's life who have lived under the same roof for many years. The external reality is complicated by the complex internal life"   Rami Levi

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Jens Östberg

In 1994 was chosen to represent the national selection in the Swedish Bagnolet platform at the House of Dance in Stockhom. He then went on to win the Rencontres Choreographiques International de Bagnolet Seine Saint-Denis as the first Swede ever, with "The Sacred Man". The critics spoke about freshness, an attack and concisiveness, an accumulated energy and an overflow of surprises. He received his dance education at the Swedish Ballet School. He has been engaged as a dancer with the Nye Carte Blanche in Norway and created in the autumn 1994 "The Running Man" for the Östgöta Ballet in Sweden. During the autumn of 1995, he toured with his own company, Bullet Proof, with the piece "Twin Tales". In 1996 he created a ballet for the Cullberg Ballet, "Born at the Point of Impact".

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"STEEP IN THE NEW ZONE" "A fragmentary message from a person who is taking his or her first steps into a new, unexplored zone, an unsecured area, trying to describe the first impression. Being in that situation would create feelings of extreme alertness, presence and tension. The instincts of animal would be just under the surface, pressing intelligence to be even more logical and scientific. The word steep indicate a danger of falling, but it also refers to a 450 diagonal that is a recurrent theme of the piece." Jens Östberg

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Örjan Andersson

began dancing at the Ballet Academy in Stockholm. He has both danced and choreographed for the Östgöta Ballet in Sweden and the Batsheva Dance Company in Israel. He has participated in several ballets by Mats Ek and Birgit Cullberg and has choreographed for the Cullberg Ballet. In 1994/1995, he was in Seattle, Washington, working both as dancer and choreographer. His choreography expresses explosive energies and sensitive intensities.   "Swedish choreographer dominates the Allegro danceprograme... Anderssons strong movement-language casts all stylised gestures aside in favour of purity and inventiveness." Seattle Press

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"ARRIVAL OF THE QUEEN OF SHEBA" "One rainy November evening in Seattle I was sitting and listening to the "Arrival of the Queen of Sheba" from Handelís Oratory "Salomon". The events are as the title reveals the Queen of Sheeba coming to King Salomonís court. My fantasy gave me visions of the preparations, expectations, impatience, irritation and the hovering aggression in front of what ever the future may bring... These pictures and fantasies blended with daily experiences of a city and itís people were quite an extraordinary fusion, which was worth to be tested in a new work. From the musical side I have chosen to work with a more folkloristic sound than before using different pieces of music by among others the 3 Mustaphas 3 and Swedish music by Jonas Broberg. Choreographicaly I played with numerus references in order to leave the spectator in uncertainty as to which of the meanings I prefere. I want to leave the field free for the spectatorís own interpretation. It was also important for me to try and find an effect through drastic changes, preferably from situations out of the daily life; the funny becomes absurd, the dramatic becomes menacing..." Örjan Andersson

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Philippe Blanchard

Started his dance education at the Conservatory of La Rochelle. In 1984 he joined the Jeune Ballet de France. During the following six years he danced with the Nederlands Dans Teater, Ballet du Grand Théâtre in Geneva and the Batsheva Company in Israel. Between 1991 and 1994 he was a member of the Cullberg Ballet ,where he also began experimenting with choreography. He is presently working as an independant choreographer.

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"WITHIN SHORTLY" "I was waiting for him to arrive. While I waited I was happy to be by my self, but when he finally did arrive, I never wanted to be alone again" Dedicated to a friend, who died in spring 95. Philippe Blanchard

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  The group

  How did Pytt i Panna was born ... and how is it going to grow up

  "STOCKHOLM- TEL AVIV"

  During the summer of 1994 the Suzanne Dellal Dance Center in Tel Aviv initiated a gala based on the theme of Israeli dancers working abroad. Among others, the Israeli dancers engaged in the Cullberg Ballet were invited to participate in these performances and then presented exerpts from the Cullberg repertory.

  In the summer of 1996, we were again invited for more performances. In consideration that we were now five Israelis in the Cullberg Ballet, and all interested in maintaining professional contacts with our native land, we decided to present our own full-evening performance. To create a unique program, we contacted three choreographers who are representative of the Swedish dance scene, and who have had professional working connections in Israel.

  The performance had its premier in Tel Aviv, July 13, 1996, and it became a mixture of new works composed especially for us and from the Cullberg Ballet repertory.

  In the future, we would like to realize a full-evening performance by Israeli choreographers. However, we are now pleased to return with the results of our fruitful collaboration from the country of its conception, Israel, and to be able to present our evening to our second home country, Sweden.

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