DANCE AND POLITICAL CREDIBILITY
tion, 1947). 34. Yael Zerubavel, Recovered Roots: Collective memory and the making of Israeli National Tra-
dition (Chicago: University of Chicago Press, 1997). 35. Benny Morris, Righteous victims: A History of the Zionist-Arab Conflict 1881–2001 (New
York: Vintage Books, 2001). 36. Gurit Kadman, “Folk Dance in Israel,” in Fred Berk, ed., Ha-Rikud: The Jewish Dance (New York:
American Zionist Youth Foundation and Union of American Hebrew Congregations, 1975), p. 30. 37. Shalom Hermon, The Development of Folkdance in modern Israel: From the Beginnings to
the establishment of the state of Israel (1882–1948) (Jerusalem, Ministry of Education, unpublished report, 1981).
38. See, for example, Ayalah Kaufman, “Indigenous and Imported Elements in the New Folkdance in Israel,” Journal of the International Folk music Council, Vol. 3 (1951), pp. 55–57; Gurit Kadman, “Yemenite Dances and their Influence on the New Israeli Dances,” Journal of the International Folk music Council, Vol. 4 (1952), pp. 27–30.
39. For comments emphasizing creativity over cultural sources by Israeli choreographers such as Shalom Hermon, Sara Levi-Tanai, and Yonaton Karmon, see Ingber, “Shorashim.”
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