Nitsan Margaliot Artistic Profile Research
“being with”

I was wandering around, as I like to do while talking on the phone, it was a warm day and on the call were Sasha and Alex and I think that I held a foldable bike as I was walking. Alex was saying that for such a research group she could imagine researching a topic that is not her expertise, and I felt a similar wish  ‘risk it for a busiquite’, as we imagined a group where we could experiment, make up practices, not know all the time and figure it out as we go.
I decided to put in focus a theme that I wanted to look at for a while but haven’t done so as it felt too intimate, maybe too private.

I was about to relate to my middle name- Avraham, after an ancestors whom I never met. My grandfather Abraham Margaliot was born in 1920 in Chemnitz with the name Adolf, at the age of 18, during The Holocaust he ran away to Palestine-Israel and changed his name to Abraham. My middle name is named after him, as I was born after he passed away. Abraham was one of the first Holocaust researchers in Israel.

With my research I propose positioning my familial archive alongside my research around time, Hi time ( I am happy that you are here reading this, please give me couple more days, I’ll return and write to you some more) - sorry this was a note to time, now I continue writing to you again- unknown reader.. keep on reading.
So, with ‘being with’ I shift between multiple practices of gathering, collaging, questioning, dancing and measuring in order to rethink the relation to time and of being with chosen ancestors differently than our daily- habitual ways of doing so.

Here, are some of the practices that I shared during my session, important to mention is that as the session took place through zoom I imagined how the screen becomes our shared encounter or studio, I questioned in what ways may we use this 2D medium to feel/ experience some sort of poetic togetherness.


* word bank
we wrote random words, any words into a shared google doc file, later on in the session we returned to those words and made up a poem commonly, only from the words in that word bank, we read the poems out loud, all together.
you can listen to us reading the poem together right here-

* Bits of heart across time — SUB(JECTIVE) kit / score
for this exercise, I was putting on an alarm for 1 min. and asked the participants to put a hand on their wrist or heart ,where they were counting their heartbeats per minute. after the minute was over we wrote down what was each our our pulses, we did so in the end of the session too. for instance you can see my heartbeat-
103 pulse (beginning of the session)
77 pulse (end of the session)
I do it as a way to position myself in time and place in a numeric way, but one that I don’t have a full control over, you can see in the graph below my pulse across places in the world which was taken in 2019, here is a link explaining further about that.

*following that I proposed the following-
choose one of the following questions and write an answer to that question

can you be timefull?

where is your time?

can you get rid of time?

can you gain time?

does your time exist in a certain place?

does your time increase or decrease?

is now just like any other time?

is your time mostly on your legs or on the palms of your hands?

is your time flying or is it landing?

is your time a lie or is it true?

is your time a poem or a story?

It is a journey through the dance

how abstract is your time?

can you switch times?

is your time within your body or outside of your body?

can you let go of all times?
can you become another time for sometime? for how long?

can you break time apart?

can you stretch time?

does time dissolve you?

can time assemble you?

can you assemble time?

do you feel that you have less time now or more time?

is your time within your body or outside of your body?

where is your time?

*Hi time, here I invited the participants to write a couple letters, poems to time, where you directly address time as a living entity, starting with the phrase ‘Hi time’

to read some of my letters to time, click here. If you would like to have a printed zine of the letters, feel free to
contact me!

also, antoine mermet composed some songs to the poems, if you want to listen to an expample or two- here you go : )

*in the last part of the session-practice we were drawing maps of utopic time and devoted a dance to one of our ancestor whom we never met.

getting closer to abstract themes felt meaningful, like something I would like to practice and share more often, thanks time, hope to see you sonner than later

Nitsan Margaliot is an Israeli Berlin-based dancer and choreographer entangled with queer archives, homages, fabulation, experimental practices, and relationality.
He danced in Batsheva Ensemble Dance Company and Vertigo Dance Company. He has worked with choreographers such as Laurent Chétouane, Maud Le Pladec, Kat Válastur, Aoife McAtamney, Moritz Majce, and Anne Collod. At present he is working with Milla Koistinen and Benjamin Bertrand.
He co-founded Mo.Ré, a collective for movement research in Berlin, and the Platform for Independent- Professional Dancers in Israel.
He published his first poetry book titled The words are faded in my head, his wrting has been published at the Imagined Theatres Journal and at the TanzRaumBerlin Magazin. 
Nitsan holds an MFA from The University of the Arts in Philadelphia, where he was a fellowship recipient with the support of the University of the Arts President's Fund for Excellence, BGU/ Philadelphia Academic Bridge Fund, Szloma-Albam-Stiftung, and the Norbert Janssen Stiftung.
His work has been presented in festivals and venues in Germany, Sweden, Hungary, Israel, and the U.S.

Moving Margins Chapter II
moving arti|facts from the margins of dance archives
into accessible scores and formats

- STEPPING OUT, funded by the Federal Government
Commissioner for Culture and Media with
in the
framework of the initiative NEUSTART KULTUR.
Assistance Program for Dance.