Portland Opera Rusalka Keller Auditorium Portland Oregon

Dance: Kol B’isha/Voice Within Woman

Jennifer Gwirtz’s new full-length dance, at Performance Works Northwest through May 1, explores feminist Jewish themes through a universal lens.


Three dancers stand draped by the window, their heads covered. Photo: Chelsea Petrakis

Kol B’isha, a dance performance five years in the making, opened Thursday night at Linda Austin’s Performance Works Northwest for a four-night showing as part of the Alembic Residency Co-Production series. Translating literally from Hebrew to mean “voice within—or that exists from inside—woman,” Jennifer Gwirtz’s strikingly meaningful work culminates in a post-performance panel discussion on the traditional Jewish custom surrounding women’s voices, featuring Rabbi Ariel Stone and other distinguished speakers.

Choreographer Jennifer Gwirtz made her way to Portland from the Jewish day schools of Philadelphia by way of California’s Bay Area, where she pursued a master’s degree at New Genres at San Francisco Art Institute. Through clowning studies with Bill Irwin and Ron Campbell, Gwirtz began dabbling in performance art and puppetry, inspiring her to found the experimental company Right Brain Performance Lab (1998-2017) before returning to her Jewish Roots through studies with American (and also Jewish) postmodern dance pioneer Anna Halprin. Gwirtz, who is no stranger to the dancemaking process, has been delivering works somewhat consistently for the last 20 years.

The dancers use their voices. Photo: Chelsea Petrakis

While immersed in decidedly Judaic themes such as renewal, religious definitions of nakedness, the cyclical spirit of nature, and the prohibition of women reciting an important holy prayer called the Sh’ma Israel, Kol B’isha also finds its voice in universal concepts such as age, breath, self-acceptance, perseverance, and dismantling systems of oppression. Gwirtz adds a documentarian approach to an otherwise dramatized, experimental, and tableaux-driven performance through projected video interviews of dancers and friends (Robin Napichek, Emma Lugo, and Jessaiah Zuré, to name a few) punctuated with moments of energetic choreography, humor, and lightness. What makes this piece unique, in addition to its Jewish representation uncommon in Portland’s dance scene, is the presence of maturity within her cast. It’s danced by Jennifer Gwirtz, Janet Goulston, and Leora Troper with live music by Eric Stern, and all members of this show are over the age of 50— a refreshing departure from the young, classically trained performers often featured by American dance companies large and small.

Throughout the 75-minute performance, the three dancers don gray, purple, and brown cotton pants, dresses, and tunics, swaying their hair freely while traversing the stage. They alternate between picking up a portable projector to cast visual recordings, covering themselves in heaps of material, breaking into melodic song delivered in partially translated Hebrew passages, and whispering prose into microphones—uttering the common Judaic question, “what is hearing and/or listening?” followed closely by “human beings are resonant animals…” and “voice that is within woman is nakedness.”

Jennifer Gwirtz dances draped in white fabric. Photo: Chelsea Petrakis

Grounded and soft, weaving seamlessly into the floor and up again, the dancers stomp, wiggle, and shout to varying live renditions of an Eastern European-sounding polka while bordered by loose skeins of fabric. When not performing choreography, they explore subtopics such as Darwinism, the evolution of the human windpipe, and why birds can sing the way they do—delivering anecdotes ranging from tragic and solemn to downright punchy, and promising a weekend filled with portraits of people who feel at home in their bodies—the resounding call of women’s voices, triumphant in their disobedience, displaying an American Judaism rooted in matriarchal points of view.


Tickets to Kol B’isha are still available at a sliding-scale range of $12-$20 for in-person and virtual showings. Join Gwirtz and the cast for a Havdalah, the ritual that closes the Jewish Sabbath, at 9 p.m. Saturday, April 29, after the show.

Amy Leona Havin is a writer, choreographer, and filmmaker based in Portland, Oregon. She holds a Bachelor of Fine Arts from Cornish College of the Arts in Seattle, Washington, and is the Artistic Director of Portland-based multi-media dance company The Holding Project. Her works can be read in Humana Obscura, San Diego Poetry Annual, The Dust Magazine, The Chronicle, Mountain Bluebird Magazine, and others, and she has been shortlisted for the Bridport International Writing Competition Prize in Poetry. Havin’s artistic process is rooted in classical and somatic movement practices, non-fiction writing, and honoring the landscape of the natural world.

Literary Arts Oregon Book Awards Portland Center Stage at the Armory Portland Oregon
Portland Opera Rusalka Keller Auditorium Portland Oregon
Northwest Dance Project Stravinsky Portand Oregon
White Bird Dance Paul Taylor Newmark Theatre Portland Oregon
Triangle Productions The Inheritance Portland Oregon
Hand 2 Mouth Theatre Performance Portland Oregon
Northwest Dance Theatre Snow White Portland Community College Sylvania Campus Portland Oregon
Hallie Ford Museum of Art Willamette University Salem Oregon
Jamuna Chiarini Odissi Dance Echo Theater Portland Oregon
BodyVox The Spin Dance Portland Oregon
PassinArt Seven Guitars Brunish Theatre Portland Oregon
Eugene Ballet Dance Hult Center Eugene Oregon
Bonnie Bronson Fellowship Award Oregon
Portland Piano International Solo Piano Series Portland Oregon
Portland State University College of the Arts
Future Prairie Artist Collective Portland Oregon
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