Yaron Margolin on dance as a treatment of the body and soul Therapist Yaron Margolin began his career as a dancer and choreographer. Along with Naftali Ironi, author of “Flexible”, Margolin shaped a theory called “the independent dance “, which served as an inspiration for his method of treatment, which is successfully being practiced in psychotherapy and complementary medicine. Enjoy the podcast above the picture of Yaron or watch the videos just below.
Yaron Margolin on dance as a treatment of the body and soul
Therapist Yaron Margolin began his career as a dancer and choreographer. Along with Naftali Ironi, author of “Flexible”, Margolin shaped a theory called “the independent dance “, which served as an inspiration for his method of treatment, which is successfully being practiced in psychotherapy and complementary medicine.
According to the concept of the independent dance, the dancer is a whole person, a range of motion – as is the dance itself. Dancer and dance are a holistic universe in which motion is the basic principle. The flow in the independent dance is continuous and ongoing; it is based only on events that are created in the dance, and the very presence of the dancers, their thoughts and feelings, and varies accordingly. Lack of movement during the dance means “stillness”, a stop in the midst of flux. Margolin’s therapeutic method, “The Margolin Method”, developed on the basis of these exact principles: a flow exists between soul and body inside each human being, and a lack of flow means a stop, a silence, “stillness”.
By the end of seventies, “Yaron’s flourishing career led him to various places around the world, enabling him to learn from many spiritual teachers worldwide. Margolin collected and applied in his method values from these teachers, amongst whom were gypsies, mystics, shamans and even priests and rabbis. In this way his psycho-therapeutic method was influenced by elements of:
~Ancient Greek medicine like osteopathy (spinal and skeletal care); recovering (healing) food and plant extracts introduced by the renowned Hippocrates, who was a great influence to the Rambam’s Medicine;
~the concept of “tonal”, the second soul, which originates from the ancient culture of the Olmecs, and from the Mayan culture – living descendants of the Olmecs in Mexico. The Shaman reveals the identity of the patient’s second soul in an ecstatic ritual in order to shield it from its representation in reality: the patient’s family, his trusted fellows, and aspects related to his career. The repair and amendment of the “tonal” that occurs between a person and the Shaman therapist has recently received a new face in the form of “coaching”.
~Kabala theories of body massages and “pressure massage” from the Jerusalemic Kabalists. He later expanded his knowledge in these areas and was influenced by acupuncture, Thai massage and Shiatsu.
Yaron Margolin 2008
In 1991, Margolin’s first articles about the “independent dance” are published, titled “The independent dance, essence, shape and fulfillment”, one of them being the first about the Margolin method “a flow of emotions through the body, or a personal ‘stillness’”. Ruth Eshel, dance critic of Haaretz newspaper, explains that “this is a theory of general movement in which there is also movement from within (emotion, thought) that moves outwards during the dance and is interpreted as an expression of the ‘dance character’, and not just a body moving from place to place. The dancing character is potential kinetic energy to be offloaded during the dance. It is this potential energy that causes the dancer to break into dance. The dancer who is carrying the ‘dance character’, sucks emotions from it and moves according to them in space; and so in its inspiration a varying flow is created based on the sources of movement. This concludes that most thought is to be directed to the creation of the character, and once the character is selected, it is presented to the dancer who feeds it with his emotions. In this way, the dancers receive wings and means to offload emotions through the ‘dance character’”.
Ruth Eshel elaborates: “the independent dance begins to form when we start to deal with a powerful character. This is the point of beginning the art of movement, and movement means continuous undergoing change. In this context, movement, or change, means a conversion of mass to energy or energy to mass, the changes being a result of an interaction. In other words, there is a simultaneous movement of constant flow from the inside out, and outside from place to place, and relative motion as well, just like in nature – for example, when one hand rises, the other hand comes down at the same time. Since emotion is produced by movement, and being a part of nature and the movement of the universe, its movement is also relative. This concludes that movement without maintaining the principle of relativity is movement without emotion and information. Margolin and Ironi call it a state of “stillness”. In this example, the arm and foot will never rise at the same time, direction, or speed, because there is no relative motion between them. The same applies for the unison of two or more dancers, moving together at the same speed in the same direction. There is no relative movement between them and no emotional information can be transferred between them.
In the spirit of Ruth Eshel’s words, lack of relative motion may occur even inside, when emotions deny a person the ability to develop and grow and act independently, for example when under stress. In situations of pressure and stress a cognitive dissonance is created and a lack of relative motion between emotions. Stressful situations release free radicals in the body, and the body ages and becomes older. The aging process is accompanied by old-age-diseases like: high cholesterol, high blood pressure, restlessness and sleep disorders, obesity, diabetes, and premature aging of the skin. The “recovering nutriments” from the times of ancient Greece combined with the contemporary theory of movement of “the independent dance” work together to restore the body and mind to their correct form.
Proper nutrition helps maintain the body, resulting in improved quality of life. Maintaining normal health means not only eating salad every day, and drinking green juices in the evenings, but also dancing, walking, swimming and gymnastics for half an hour to an hour, three times a week, as well as “pressure massage” and stretches to release muscular fixation once a week. All these are part of “the Margolin Method” which deals with healing and maintaining the freshness and good health for years. This method is designed to retrieve the body’s power, to progress the soul forward, and to salvage it from a state of “stillness”.
Indeed, high quality body maintenance helps keep physical health, yet it does not develop an emotional and intellectual world and does not liberate from a state of lack of movement between emotions and thoughts. To do so, artistic therapeutic methods are needed, which include talk therapy – a healing dialogue between teacher and student, philosophy and practice of fine arts. However, talk therapy alone, although it develops the mind and releases emotional blockages, does not release parallel “stillness” in the body; words alone can not restore the power to the body and free it from muscular fixation. This is where “the Margolin Method” comes in. It combines recovering nutrition, use of herbal extracts and physical activities, including dance, and ‘pressure massage’. The Margolin method combines all the above mentioned means, and sorts and selects from the general what is necessary for the individual in order to restore the power to mobilize and break through his/her stillness.
Gal Chen in “Dance of the Slave” out of “Persian Dance” by Margolin
Art has great forces. Its beauty and especially music have a big impact in the healing process. Music holds tremendous power similar to the “dance character” mentioned above; it penetrates and puts the “still” part into motion. Ruth Eshel says: “According to Ironi, music composed for dance – like the music of Frescobaldi, Wagner, Mendelssohn or Brahms, Schumann, Liszt and Mussorgsky – can serve as a ‘dance character’. Although this character has no body, it has an enormous amount of emotion. And, in our existential experience, the character appears as a movement that penetrates the soul and evokes its emotions. The music is perceived by the dancer as an expression of self-power, and is a “dance character” for him as well. Hence there is a close connection between music and dance, and when an emotional flow exists between the two, one can keep track of this flow of the music, and in cases in which the dancer and choreographer ‘live’ the musical scene and identify with it, one can merge it with the emotional flow of the dance and give this character a physical nature.”
The topic of ‘dance character’ was transferred to “talking” therapy and penetrated the textual aspects (talking therapy), where the poem, anecdote, dream, fable and most of all mythological figures help revive the soul similar to the method of Carl Gustav Jung. All of these are used in therapy in the “Margolin Method” similar to the ‘dance characters’ used by his dancers. The ancestors used identification with mythological figures in a healing process that included putting the patient into a trance through music and dance, and brought forth an emotional insight and a very powerful recovering sequence. The “Margolin method” applies this principle in treatment to trauma and emotionally-loaded situations without resorting to traditional trance.
Yaron Margolin – “Pressure Massage”
According to Margolin, traumatic and emotionally-loaded situations are similar to the ‘dance character’ designed for the dancer by the choreographer. Extreme emotionally-loaded situations have a tremendous affect on a human being. The trauma penetrates and activates the human being from the inside, against his/her nature. The trauma hinders the person’s true personality and paralyzes the space of emotions and thoughts, putting him in a state of lack of relative movement. According to the “Margolin Method”, a trauma is a virtual space of movement, which silences the natural space of movement around it. Emotionally loaded situations, including a sudden feeling of great joy, are also referred to as traumas, and may fixate in the space of emotions and manage it against its nature.
Movement of the body during the treatment helps to dismantle the traumas. These traumas have similar power to the mythological figures, except they attach themselves to the soul and deny its natural growth, and their dismantling requires movement; i.e. activation of the body including “pressure massage”, manipulation, stretching, and use of ‘recovering nutriments’.
This type of treatment uses movement, and one can certainly approach a method of pure dance, as did Yardena Cohen, Yaron Margolin’s teacher and a pioneer of dance therapy. Yaron does not use trance or dance in his clinic, but conversation, pressure massage, and only symbolic movement. In order to free one’s personality from characters that have sunken in by the influence of traumas and life’s events that do not correspond with one’s inner personality, moving one’s eyes or hands is enough.
The “three stories technique” gradually developed in Margolin’s clinic, and originated at the dancing studio. The patient tells the story of a bold figure in his life; he talks about the event, the trauma. The story is presented three times, and after each time there is a break in which the patient is asked to move his eyes or his hands.
Jacob (alias) had been fired from his job due to a series of shortcomings. He would not wear the work-place’s uniform, or would wear it sloppily. He would sometimes take on his own assignments without informing his superiors or consulting them. It became a widespread impression that Jacob was “a professional trouble-maker”, one who demonstrates intolerable independence and has no consideration for others.
At the therapy session Jacob said, “I feel like a man who is facing a wall.”
Margolin: How do you experience the wall, what kind of character does it bring out in you? What does the wall tell you?
Jacob: It looks down at me.
Margolin: Didn’t your shift manager claim that you look down at him?
Jacob: Yeah that’s what he claimed
Margolin: What else do you hear?
Jacob: That I’m not a man.
Margolin: And do you believe it’s true?
Jacob: That’s inaccurate
Margolin did some “pressure massage” and afterwards they returned to Jacob’s story.
The second time Jacob added an important detail to the story:
I think I was the one looking down at myself. I don’t think the shift manager ever looked down at me; I was the one who was looking down at him. (He is 35 years old and still lives with his grandmother,) I find that shameful. I’m dismissive towards myself and imagine that it is coming from him. But maybe I’m not imagining and he does look down at me, I do not know. But I would never tell him I despise him.
After another pause for some “pressure massage”, Jacob told the story for the third time
Jacob: I was fired from work yesterday; the shift manager fired me because of a series of shortcomings. I mocked him; I would not wear the uniform, or I would wear it sloppily. I would sometimes disappear and no one could find me at the post I was responsible for. In fact I felt that the people around me were laughing about the music I listened to.
Margolin: Have they ever heard it before?
Margolin: So how could they laugh at your music without having ever heard it?
Jacob: I told them about it, and then I imagine that they have something against it, but that doesn’t mean that’s what they really think. I need a strong character to lean upon.
Margolin: How do you experience the strong character you wish to lean upon, which character does it unleash inside you?
Jacob: It belittles me, in fact it scorns me.
Margolin: Does the strong character scorn or criticize you? Does it have anything against you?
Jacob: Sometimes it is a source of criticism. Yes, I hear it has something against me.
Margolin: Does the criticism cancel your being?
Jacob: Yes, it belittles me.
Margolin: To avoid being swallowed by the criticism, do you exaggerate your need to demonstrate your uniqueness?
Jacob: It happened to me at my previous job as well, back then, if you remember, I couldn’t stand being asked to act according to strict and precise instructions.
Jacob turned out to be a man who “kicks” the system to which he wants to belong. This objection appears as defiance and a demonstration of excessive independence; certainly an irritating behavior that may be interpreted as disparaging behavior.
At that session that changed his reality, the “stillness” of a defective social situation was breached. In one short meeting Jacob understood by himself that he hears derogatory criticism in his own imagination. The criticism was harsh: you’re not a man … you look down at the work manager, work, the environment … The criticism was paralyzing him, swallowing him, disallowing him to fit in. He had found an original way to keep his separation and so thwarted any possibility to integrate into society.
The “three stories technique” breaches traumas that attach onto the emotional space as a character that manages them according to its dictates and against the nature of the person’s personality. Using this technique the trauma’s side-effects can be eliminated in a short time.
Margolin was born in Tel Adashim, Israel (1954) to one of the founding families. His grandmother, Rachel, born in Tiberius, and grandfather Shalom Margolin were among the founders of the moshav (farming village). His father Jacob, born in the village, founded an animal farm that changed to flower fields and later on to olive groves, adjacent to the hills of Nazareth. His mother Eve, a Holocaust survivor who immigrated to Israel in her youth, danced with Mia Arbatova in Tel – Aviv.
Margolin wasn’t attracted to agriculture, preferring to be a dancer and choreographer, and in days to come – a psychotherapist. At 14 he began studying with Yardena Cohen in Haifa (one of the founders of Dance Therapy and Israeli dance), who sent him to study with Osteopath Hanna Hon in Tivon, and later on with Rina Shaham (Tel – Aviv) who referred him to study at Bat-Dor Band’s dance school. Influenced by Hanna Hon, Margolin began to treat back problems at 16 and a half years old. His first patients were dancers from Yardena Cohen’s dance school and villagers from Tel Adashim. Later on, when he entered the Bat-Sheva group, he used his experience to treat professional dancers. He participated in the first team of the Bat-Sheva 2 group, and later, in 1977-8, he danced with the original group. In 1977, Tirtza Scheppenauf (dancer, teacher, and one of Feldenkrais’s dearest pupils), referred him to Moshe Feldenkrais’s studio, where he learned about innovative approaches to muscular tension relief, ideas that penetrated into his dancing, and are today being used in his therapeutic methods. Inspired by Feldenkrais’s techniques, Yaron found that excessive muscle tone is a faulty condition that must be gotten rid of.
In 1978, Margolin watched a recital by Ruth Eshel at the “Tzavta” club in Tel – Aviv and was deeply affected. “Scarecrow” by choreographer Ruth Ziv-Eyal and performed by Eshel made Margolin feel all of his desires had come true: “pure dance”, a ‘dancing character’ leading a sequence of motion, a burst of passionate emotions tapping on the skin and motivating the body like a leaf in the wind – a journey of motion without reason or tale (not a statue, a painting or theater) – a new aesthetic: a strange emotion, the emotion of a scarecrow, breaking free into dance driven by nothing other than dance/emotional-logic. Following this incident, Margolin left the Bat-Sheva group, and turned to find his way as an independent artist, creating pure dance. He moved to Jerusalem, and joined teacher and choreographer, Flora Koshman.
In his beginning days as a dancer in Jerusalem (1980-1979) he performed with “The Dance Workshop of Jerusalem” directed by Koshman. Flora Koshman founded the “Place” in London (a big school of modern dance) and was the head of the great dancing school of Brussels, “Mudra”, for several years. She trained dancers for Robert Cohen’s dance troupes “The London Contemporary Dance Theater”, Morris Bejar’s “Twentieth Century Ballets”, the “Roses” – a chamber dance troupe from Belgium that changed the face of dance in these years and gave rise to contemporary dance, and “The Kibbutz Dance Company”. Her unique style was influenced greatly by her teacher, Jose Limon, and her tendency towards Buddhism. From 1979 and inspired by Koshman’s Buddhist ideas, Margolin became interested in yoga, Jewish mysticism, Kabala, and the teachings of Reich (founder of the body-soul theory in the West). The first Jewish mystics Margolin met were from the Katamon neighborhood in Jerusalem. From them he learned new methods of how to treat the body using herbal medicine and stepping on the body. Simultaneously, he read in the “Zohar”, studied Aramaic, read the teachings of Chaim Vital -the Tree of Life – and the teachings of Rabbi Kook.
Yaron Margolin – 1979
In 1979, Margolin created his first solo inspired by Kabalistic motifs. It was a pure dance piece titled “Forgotten Times… Tel-Adashim” danced to music by Parmagianni. Critic Nathan Mishori wrote: “I do not recall witnessing a dancer with such great awareness and control to the connection and relation between his body and his movement to the space around him. Long haven’t I watched a dancer with such a personal way of moving – a quiet lyrical flow.” This piece was composed as a continuous flowing sequence based on a rainbow of motions, in which shorter sequences of movement are repeated like leitmotifs in a musical piece. Margolin went on tour in Europe with this piece. Upon his return to Jerusalem in the summer of 1979, Margolin founded the “Katamon Workshop of Movement” in order to create cooperation among the dancers from this long-suffering neighborhood (Katamon) and dancers from Jerusalem’s more thriving neighborhoods. Choreograph Anna Sokolow was invited to visit at the workshop and was impressed by the project. She volunteered to teach at the workshop and, later, so did Flora Koshman. During this period of time, Margolin also began to develop his unique work method in dance, based on the teachings of Moshe Feldenkrais and Tirtza Scheppauff – a method that aims for holistic movement based on Buddhist and Kabalistic ideas.
In 1980, Margolin published a booklet titled “The Splendor of Movement” that deals with the concept of dance and free flow.
In “The Splendor of Movement”, Margolin describes the Kabalistic concept of the body as the basis for dance: The Tree of Life, which serves as a geometric representation of numeration, is reflected in the human body and its muscular flow. The quality of the flow illustrates the expansion of the spirit of the dancer and the existence of a soul in his body. This theory was the infrastructure of his method at the time, both as a dancer and as a teacher who designed a new body-training method. “The Splendor of Movement” won the interest of the German media, and attracted to Margolin students from Switzerland, Germany and Latin America.
Margolin (44) and Eitan Chernis (26) in Margolin’s last production in which he danced himself on stage
“The Splendor of Movement” was based on a system of hand movements that activated the body in a calm lyrical flow, while maintaining physical relaxation and subtle body strokes even under great effort. To do so, one must be released from bodily stiffness. To increase the body’s flexibility, Margolin developed a technique of massage that is performed while moving the body. The body massage proved to ease the carrying out of limb strokes and accelerate the general body flexibility. This massage technique is still referred by his dancers as “presses”, “pressure massage”, or “in pairs” because they are practiced in pairs: one dancer is in motion and the other “presses” on his body in agreed areas. The unique treatment method, “A Breaking of personal ‘stillness’” or “The Margolin Method”, later developed out of these exercises and “presses”. Apparently, poor flexibility indicates a muscular memory that embraces life stories that haven’t been fulfilled due to an overflow of emotions whence they occurred. This barricaded emotional overflow is trapped in the body and prevents it from fulfilling its true kinetic potential. For instance, the left groin stores the muscular memory of separation from women, the workplace, and living space, whereas the right groin stores the muscle memory of separation from men, university, and issues related to finance. Lack of flexibility in the left leg limited Margolin’s dancers, and the “pressure massage” helped release memories stored in the muscles, subsequently making the dancer more flexible as well as being able to talk about the break-up (from his/her spouse) that interfered with the flexibility. As a teacher, Margolin became famous for his ability to educate his dancers to exceptional flexibility, the “pressure massage” theory taking a great part in this.
Illnesses of the body indicate the events in our lives and “stillness”. Here are a few examples: sore feet indicate failures in one’s love-life. Hands reflect the deep emotions of someone who wants to set his true inner-self free. When this hidden personality bursts out, the hands become bruised and sore. Neck problems indicate cognitive dissonance, internal power struggles, as well as struggles in fields of social morals and career. The upper back, the area between the shoulder blades, reflects our intimate relations and teaches about the state of our immune system. The abdomens indicate the level of intrusion we feel in our personal space. The liver turns attention to the mind and mental illness. The descending colon tells about trespassing issues. The outer sides of the lower back reflect lack of giving and generosity and a general function failure, whereas lower back pain indicates over-giving, and a life amongst violence and exploitation. Each muscle has the power to reflect different events and experiences. Margolin has a “stillness map” that describes how every part of the body can be manipulated in order to treat a person’s “still” emotional or mental condition, an intimate relationship that has collapsed, difficulties in finding a job or a new love. The treatment includes conversation, “pressure massage” and inhalation and exhalation of the air.
In 1980, Margolin went on a tour of solo performances in Israel and abroad. In Berlin he was praised by Wolf Zova of the Berliner Morgnfeust (1980): “Margolin is a star of the modern ballet, and a creator of a new philosophy of dance.” The program of the tour consisted of four dances: “Melody” by Flora Koshman created specifically for this production, “Forgotten Times… Tel-Adashim”, “Formation” to music by Oded Assaf, and “David” with no musical background. The latter three dances were all composed by Margolin himself. During the tour he was invited to teach at a seminar in an orphanage in Berlin, where he put to use techniques from ‘Dance Therapy’ that he had acquired while training as a teenager in Yardena Cohen’s Studio. The seminar aroused great interest, and the presence of reporter Wolf Zova from the Berliner Morgan Post (a very important newspaper publicized Margolin’s name as a therapist in Europe. He was contacted by various individuals and institutions, including the Swiss Academy of renowned dancer Harold Kreuzberg (Bern). In Switzerland Margolin was introduced to the method of “Recovering Nutriments” founded by Birchen Misli.
In 1982 Margolin was invited to Mexico City to teach dance on the recommendation of two of his former Mexican students in Jerusalem. The Mexicans found a similarity between the Kabalistic “tree of life” (symbolized by a Menorah, a lamp) and “Arbul de la Vida” (“Tree of Life” in Spanish, symbolized by a number of circles connected by a single long ‘sun pole’. The Mexican Tree of Life is basically a dual lamp). Margolin received wide recognition in Mexico, where he met many intellectuals and artists, including Carlos Castaneda, Alan Escobedo, Paolo Guri, and Girmo Ariaga. He conversed much about “the dancer as a moving tree of life” and the Aztec psychology. Students, who came from the Yucatan rain forests, the Sierra and more remote districts of Mexico, invited him to their villages, where he studied different theories (from the locals). He taught in almost all official institutions in Mexico City and in most ballet troupes in the city, appeared in many television programs, and was spoken about in dozens of local media reports. Margolin starred in many dance performances along with Mexican dancer Rebecca Sitt who also taught Margolin’s method in the National Academy in Mexico City. The two initiated cooperation with local artists, including sculptor Alan Escobedo and composer Mario leVista, but most of their interest was in the ancient culture, mysticism and psychotherapy of Indians. Upon his return to Israel in 1984, Margolin’s great interest in Western psychology led him to the writings of Freud, Jung, Adler, and Lang, and, as an external student of the Hebrew University, he expanded his education in psychology, sociology, music and theater (especially the epic theater).
Yaron and Nicko
In 1986, Margolin first met Naftali Ironi and was deeply impressed by him as a philosopher. This relationship led to far-reaching change in Margolin’s work. He abandoned the influences of post modern artists such as: Noa Eshkol, Carolyn Carlson (from whom he studied opera in Paris in 1981) and Kay Ta Kay (who came from Japan to New York influenced by Anna Sokolow, Margolin’s choreography teacher), and began creating and producing dances according to the theory of independent dance that was starting to form together with Ironi. The idea was to create a dancing experience based on emotion, not only on the structure of a rigorous and intelligent choreography and a biological energy flow (inspired by the structure of numerations that flow in the body – according to the Kabala), but on internal kinetic energy, a burst that gives birth to an independent force that yields movement episodes and pure dance. This theme is a basic concept in his therapeutic teachings about the nature of trauma, which is an internal force that drives man, against his personality or nature. Based on his choreographic conclusions, Margolin wrote an article titled “About Choreography, or Syntax of Dance” which presented rules for composing independent dance and included many scientific examples from modern physics (scientific editing by Moshe Cohen, a physicist theorist), and was published alongside another article “a flow of emotions through the body, or a personal ‘stillness’” mentioned above.
Naftali Ironi (died in 2000), was born in Botoshny in northern Romania under the name Niko Hordonicno. He was an aesthetician, a playwright, a theater, literature and opera critic, and author of essays on aesthetics. His book “Fate – is it a meaningless word?” published in 1982, includes three of his plays and two essays on aesthetics. He also wrote in various Israeli magazines about dance in Israel. In 1991, together with Margolin, he published a book titled “The Independent Dance – Essence, Shape and Fulfillment”. His philosophical essay “Flexible” was published in 1999 in Romanian and won recognition and appreciation in Romania.
Ironi was a student of the philosopher Michael Barraz who was himself a student of philosopher of Constantine Brunner. Brunner, philosopher and philosophical psychologist, founder of motion psychology, was the first to see a movement space in the human soul. Brunner was a great follower of Baruch Spinoza and one of his great interpreters, and was the author of many books and articles. Some of his articles were translated to Hebrew by Yaron Margolin and were published on the Internet. Margolin learned Brunner’s philosophy and psychology from Ironi for 16 years. Inspired by Brunner’s philosophy and psychology and that of Ironi (“Flexible”), Margolin abandoned the traditional theories of mind and soul in his therapeutic methods.
Yaron Margolin and The multi-cultural Dance Troupe – 2000
In 1999 Margolin founded a new troupe -“The multi-cultural Dance Troupe” for boys and girls from disadvantaged neighborhoods; Jews and Israeli Arabs, immigrants from the former Soviet Union and Ethiopia and Palestinians from the refugee camps around Jerusalem. These dance classes were attended by 180 boys and girls. The troupe’s dance repertoire included autobiographical features of violence among teens and wishes for peace and coexistence. Margolin set out on several tours in Europe with this group during the second Intifada. The phenomenon itself was a marvel to many in Europe who wished to come and see co-existence during a time of war with their own eyes. At the same time, Margolin was invited by educators and distressed youth counselors in Europe to meetings where the group was introduced as a model of success in the field of treatment and education of young migrants. During these tours, Margolin met with mayors in France, Belgium, Switzerland and heads of departments of treatment of youth at risk.
According to dance critic Giora Manor, Margolin’s greatest production as a choreographer was “Cursed Women”, and the second best was “Dances by followers of the covenant of David.” The debut of “Dances by followers of the covenant of David” was to be held at the Israel Festival (1990), but even before that, the dance was performed in Stuttgart, where the famous critic Horst Kugler wrote about Margolin in the Stuttgartsitung (1990): “It is impossible to ignore Margolin’s physical beauty, as if an ancient Greek statue came to life. Additionally, he is an expressive musical dancer, a virtuoso, who leaves behind him a huge impression… Yaron Margolin isn’t just another professional choreographer. He belongs to the rare type of artists, who are motivated by talent and not only knowledge … an inspiring choreographer.”
Yaron Margolin in “Dances by followers of the covenant of David” – 1990
The piece “Dances by followers of the covenant of David” is based on the principles of independent dance. It includes 20 short dance pieces, in which the dancer starts with a stormy dance and finishes dancing at ease, from a dance demanding tremendous effort, to a lyrical and quiet dance. Margolin performed this piece for a few years. First, in a recital (1990) which also included the dances “soaring” (music by Frescobaldi), and “psalms 42? (music by Mendelssohn). Later the piece was performed as the end piece of a dance alongside “Inferno” (1992) – a duet that he danced alongside his great student – Jerusalem born dancer and choreographer Yael Haramati.
In 2002 Margolin began studying chapters in alternative medicine: Shiatsu, Zen Shiatsu, wind cups, Rambam medicine, recovering nutriments in the methods of Herbert Shelton, Kingston (G. C. Thomson, Eli Strauss) and Ann Wigmore, herbal extracts, Bach Herbs, and Habbenguri herbs, and he founded a research group to trace the medicinal effects of extracts derived from plants in the Land of Israel.
In days to come, dancer Yael Haramati developed Margolin’s dancing teachings and philosophy and rearranged them into a method of therapy and massage on a mattress. Haramati began to use this method to make a living in the spa of the Hilton Hotel in Jerusalem. Later in 2002, Margolin studied with Haramati, retired from dancing and concentrated on developing this method of treatment.
He has set up clinics in Tel – Aviv, Jerusalem and Hod HaSharon, where he provides help and healing to dozens of patients. He treats issues such as: physical failures, increased quality of life and life expectancy to patients suffering from diseases that are considered incurable, preventive medicine (“anti-aging”), and general balancing of body. Margolin also addresses issues like ADD and ADHD, violence, relationship problems, states of stillness, career management and organization, and extracting oneself from traumatic situations.
Yaron Margolin has two adopted sons: Tamer and Yuri.
Content and advice appearing in this document are based on personal experience and do not under any circumstances replace consultation and / or treatment provided by a physician and / or doctor – the use of any content or advice appearing in this document is your own responsibility.
Yael Haramati and Yaron Margolin in “Inferno” – photo by Eldad Baron
The bold soloists in Margolin’s groups were:
Rebecca Sitt – who went with him on his journeys in Mexico, (Sitt is a dancer with a strong stage presence, flowing movement, with gentle lyrical hands full of expression)
Yonat Delsky (a beautiful and graceful dancer with great stage charisma) who starred in “Cursed Women” as “the giant”
Yael Haramati – the greatest of his dancers. “Yael Haramati is by any standard a gifted dancer and virtuoso that brings to the stage a powerful turmoil of the soul, erotics, remorse, seduction and pleasure that batter her around ruthlessly” – written by Jacob Loitem, Jerusalem, 1992,
Gal Chen – a virtuoso dancer strong stage presence, “a phenomenal dancer” as described by Rachel Mehager of the Jerusalem Radio. “In her dance, her body sweats, tears, flies, is gnarled from the endeavor, and squeezes from itself professional and unfathomable seriousness to the last drop of energy” – Albert Suissa, Kol Ha’ir magazine, 1999.
Together with them danced Noa Dar, Esti Keinan, Vered Zaslani (Rogel), Yarden Navon, Yiska Werblowsky, Galia Magen, Nili Bar, Gila Binyamini, Keren, Mina Nahmani, Michal Millson, Orit Tzipori, Nurit Katz, Tirtza Freund, Yael Beit-On, Michal Ezroni, Bat-Ami Gredel, Irit Uziel, Billy, Tanya Sheffer (Switzerland), Paula (Argentina), Judy Kaplan (USA), Frumit Feldenkriz, and Neta Heller.
In his later groups dances the following dancers: Estee Lomes, Limor Shemam, Shimrit Wiener, Ariella Wiener, Orit Segal, Almer Gordon, Miri Bar-Ness (RIP), Vered Post, Tali Grossman, Dana Ben-Ari – Raz, Dalit Ben-Meir (Issachar), Vicky (Victoria) Peretz, Tali Vardi, Yael Shir, Miri Cabillio, Martine, Revitatl Aknin, Tami Maor, Orna Katz, Sandra, Natalie, Michal, Shira Gorali, Noga Shiluah, Tal Levana, Tamar Tal (Berger), Alexandra , Sigal Mezer, Tali Gazit, Debbie Grossman, Miya Henahrt, Ruth Avrahami, Yasmin Kedem, Shifra Gezer, Yael Ohana, Luna Kaduri, Tali Gazit, Miriam Gal-On, Edith Toledo, Estee Dabah, Yael Moav, Shlomit Leer, Amalia Rimalt, Carmit Herman, Yael Greenberg, Ifat Hofesh-Nof, Michal Eizenman, and Anat Margolin.
His male dancers were Athanasius Gadanidis, Avi Sadot, Avi Revivo, David Benisti, Yair Raz, Yohai Hakak, Tony (Antonio from Mexico) Haggai Ben-Yehuda, Rafi Cohen, Amir Or, Meir Cohen, Morris Rosenthal, Albert Suissa, Gal Haimson, Gal Elaster, Ram Aviram, Shlomo Israeli, Shmulik Dahan, Eldad Baron, Zahi Reich, Yair Haklai, Serge leMann, Tamir Koch, Ronnie shlav, Nissim Yadid, Yair Harel, Oren Pri-Har, Alon, Alon Razgour, Johan Tsur, Avi Asraf, Avi Berkman, Alex Kremer, Shai Abadi, Ofer Shorr, Ruby Edelman, David Ornstein, Alon Safira, Alon Cohen, Giti Ben-Israel, Avinoam Silverman, Koby HaGoel, Shuki Shukrun, Gindi Galabsub, Ran Mezer, Cammi Nir-Friedman, and Eitan Chernis.
Dancers whose names or part thereof are missing, please refresh our memory
Among his most prominent pieces were: “Cursed Women” 1986 (music by Cesar Franck), “Dances by followers of the covenant of David” 1990 (Music of “Dances by followers of the covenant of David” by Shuman), “Inferno” 1992 (music by Liszt), “comforts” 1992 (music by Liszt), “Nur al Ira” 1996 (“Fire of Envy” to Arabic music by Warda), “Persian Dance” 1997 (a solo he worked on for 10 years to the sounds of “Persian Dance” by Mussorgsky), “Tango on the edge of a stool” 1998 (music by Schnittke), and “The Dancing Serpent” 1999 (music by Cesar Franck). “The Dancing Serpent” is the piece Margolin considers to be the highlight of his work, in which he says he could finally apply the principles of true independent dance.
Edited by: Liora Herzig
Translated by: Yuval Tamir