Abstract
This article treats the Land of Israel as a cultural laboratory where ethnic, folk, and concert dance have cyclically diverged and converged. Tracing a century – from Ottoman rule and the Mandate through statehood and globalization – it follows early pioneers (Agadati, Nikova), Ausdruckstanz artists and holiday pageants, the post-1948 melting-pot government policy, and Sara Levi-Tanai's Inbal Dance Theater singular expansion of Yemenite sources. After an era of detachment (1960s–80s), rapprochement since the 1990s reflects pluralism and third-generation curiosity. Parallel Arab developments (dabkeh infrastructures, joint projects) and the Ethiopian-Israeli trajectory Eskesta Dance Troupe to Beta show how embodied micro-techniques can seed contemporary vocabularies. Recent exemplars, Orly Portal and Stav Struz-Boutrous, expand languages from within while interrogating gender, power, and identity. The article argues that Israeli dance models a plural modernity, where archives, pedagogy, and equitable collaboration sustain living traditions as engines for contemporary creation
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