Ayelet Giladi: "Look at the Wonder Unfolding Here"

A conversation with Dr. Ayelet Giladi, Chairwoman of The Jerusalem Ballet, about the surprising connections between violence prevention and choreography—and why, today, ballet can speak to the world in ways words cannot.

Sometimes life brings you into a completely unexpected world—and that encounter turns out to be transformative for both sides. That’s exactly what happened to her: an outstanding scholar who spent three decades combating sexual violence against children and developing unique educational programs used from South Africa to Morocco. After the prolonged war following the events of October 7, she felt she could no longer return to her former professional reality. And in that moment, the Jerusalem Ballet entered her life.
Our conversation touches on how sociology, pedagogy, and years of work in child safety unexpectedly led her to a leadership role in the arts; what violence prevention and choreography have in common; and why ballet today can convey messages the world no longer hears in words.

                              Salzburg Global Seminar 2017

– You have spent more than thirty years studying sexual violence against children and developing prevention programs. Does this academic background influence your work as Chairwoman of The Jerusalem Ballet?

– Absolutely. I am a sociologist and educator, and for many years I have researched sexual violence against young children. I developed programs to prevent it—programs that work both in Israel and internationally, from South Africa to Morocco. It has always been important to me that knowledge doesn’t remain locked in an “ivory tower.” Everything I’ve studied and developed must be applied in schools, giving children real tools to protect themselves.

– You often emphasize that your work broke new ground in your field. What was innovative about your approach?

– It was truly new knowledge—both for Israel and, in a sense, for the world. In 2004, I introduced a completely different theoretical approach to child sexual abuse. I completed my doctorate in London and brought sociological theory into the field, explaining how abuse happens as a social process, not just a psychological one. For example, I studied children’s play: how they encounter situations that go beyond the game, and how, through play, they can gradually learn about boundaries—both with peers and adults.

– Are your programs designed only for children, or for adults as well?

– Both children and adults. The same goes for the book I wrote, “No Children's Play—Early childhood Sexual Harassment" that explores how seemingly innocent childhood games and interactions can escalate into early forms of sexual harassment.  Among other things, it addresses bullying, cyberbullying, and harassment among young children, including specific considerations for the LGBTQ community. I wanted to explore the earliest stages of sexual harassment and challenge the assumption that children’s games are always innocent.

– In your view, is it really possible to prevent abuse, or at least reduce its likelihood?

– Yes. We teach children to understand their bodies—what is right and what is not. For the youngest, we use dolls and stuffed animals, which builds trust and reduces fear. We instill respect for their own bodies and for others. Later, we gradually introduce concepts like intimate zones, boundaries, and risk situations. It works surprisingly well.

– Have you collaborated with government institutions?

–  From 2007 to 2024, we worked consistently with the Israeli Ministry of Education. And since 2020, I began implementing programs abroad—they are now available online in English and Portuguese.

                         Lambert Academic publishing 2019

– Your goal is to make this knowledge universal?

– Exactly. Knowledge shouldn’t stay only in Israel. These are universal tools for children up to 18, though my focus is on the youngest. The earlier a child understands society, the safer they become. Gender awareness is crucial too—for example, teaching a boy that masculinity is not about coercion, and teaching a girl that her appearance does not make her an object for abuse. It’s a language of respect, honesty, and equality.

– Have you seen evidence that your programs have lasting impact?

– Sure. For example, a girl who completed the program later met her former mentor when she was already serving as a soldier. She told her: “It’s thanks to your program that I know how to protect myself in the army.” It shows that skills learned in childhood carry into adulthood.

– You mentioned children grow into more responsible adults. Is that noticeable?

– Absolutely. A boy raised with respect and understanding of boundaries will not harass others. He understands that being a man is not about violence. It’s essential to teach children that from age twelve, they are already legally responsible. They are smart—they respond when you speak their language.

– You led your association, Voice of the Child, for many years. Why did you step down?

– I left after the war. October 7 was a turning point. I had spent years teaching children how to protect themselves from sexual violence, but under the conditions of that day, no program could have saved them. Not because the programs failed, but because the scale of what happened was inhuman. I could not continue.

– And that’s when the idea of joining the Jerusalem Ballet came?

– Yes. Julia Shachal, the CEO, was perceptive enough to recognize the potential I could bring. She invited me to serve as Chair of the Association, and I agreed to help. Without her, none of this would have happened—she’s extraordinary. Upon assuming the role of Chairperson of Ballet Jerusalem, I drew on my background as an academic and researcher to promote cross-border social agendas. I immediately felt at home, as I have extensive experience leading nonprofits, managing boards, fundraising, and reporting. But it wasn’t the administrative side that drew me in.

When I saw Houdini. The Other Side, I realized that Nadya Timofeyeva is doing something unprecedented in Israel. She brings Jewish themes to life in ways never seen before. I knew immediately: this must reach the world. And I resolved that, if I took this role, it would not remain confined to Israel—Jews everywhere, and indeed people everywhere, should experience this. I was struck by how clearly a message could be conveyed through body, music, costumes, and set design. I also realized ballet is an incredible educational tool.

       Ayelet Giladi with Julia Shachal and Susan Freedman Londoner
                  Photo courtesy of Florida Atlantic University, 2025

– So your focus on child safety and vulnerability resurfaced…

– As a child, watching ballet felt like being pulled into the same old stories—Sleeping Beauty, Swan Lake. The dance world seemed beautiful but closed, repeating itself. The repertoire of the Jerusalem Ballet is something I have never seen before. It speaks for itself—and as a sociologist, I see how crucial it is for this language to be heard globally.

My motivation intensified during the war. It was unjust in itself, but the external reactions—shallow, misinformed, shaped entirely by social media—were even more painful. In such a context, using ballet to communicate, for example in Memento, about the reality of the Holocaust, becomes vital. It’s a direct parallel to October 7, expressed differently. Keeping these themes only in Israel would be a mistake. We must show that even in war, culture, art, and dance endure. They can break cultural barriers—however grand that may sound.

That is why I started leveraging my connections. I spent nearly a decade at the Hebrew University, presenting at conferences and seminars. You don’t just deliver a lecture—you build relationships. When I told international colleagues about the Jerusalem Ballet, I wanted to convey one thought: Look at the wonder unfolding here.

– And that led to the Florida tour?

– Thankfully, it happened. The trip was very personal for me—I needed art, music, inner peace. But it was also clear we were carrying a message, and it had to be shared. It was, without exaggeration, a mission I took on. Even Nadya may not have fully realized how important her work seemed to me. Nadya is extraordinary—gifted, unique, generous. Working with her, promoting her ideas, is a tremendous honor.

– What makes the Jerusalem Ballet company unique in your view?

– Nadya’s story, and that of her mother, the legendary Nina Timofeyeva, is moving and profound—it explains a lot about Nadya’s choreography. But the real uniqueness lies in the company itself. The Jerusalem Ballet brings together people from different countries who came to Israel to express Jewish culture through dance. Look at the company, the choreographers, the team—they are immigrants, Zionists, people who consider Israel their home. And Nadya takes the most familiar tool she knows—dance—and turns it into a language accessible even to those who don’t speak Hebrew. That’s why I felt it had to reach beyond Israel.

– Returning to the Florida tour, the company’s first international performances…

– When I contacted colleagues, one remembered meeting me in London ten years earlier. A week later, their daughter, Aidan Nettles, called. I remembered her as a young ballerina, impressively serious in her early twenties. She said, “If we’re doing something exciting, it can only be with you.” They knew I push boundaries and keep my word. They saw the programs I implemented in South Africa and Morocco, the educational projects that changed lives. They understood that if I became Chairwoman of The Jerusalem Ballet, it was serious.

Collaboration with Aidan began almost immediately. In a year, we advanced further than expected. At first, the company might have seen this as just a tour—finally going abroad! But I explained: this is not just a trip. It’s the start of a collaboration on a scale far beyond a simple tour. We signed an exchange agreement for students, creating a lasting partnership. FAU’s department, led by Aidan Nettles, focuses on contemporary dance and jazz, complementing Nadya’s neoclassical direction—creating a true two-way model where each side keeps its voice while enriching the other.

                Ayelet Giladi with Aidan Nettles in Florida
            Photo courtesy of Florida Atlantic University, 2025

– Today the world is volatile, with outbreaks of antisemitism—but your performances went off without incident. How was that possible?

– The team at Florida Atlantic University in Boca Raton provided us with top-level security. The conditions were strict and thorough, but everything was impeccably organized: university police, service dogs, clear-bag policy, discreet security. Donors covered flights, hotels, transport, meals. Halls were full, audiences did not want to leave. For the dancers, it was astonishing—they performed with incredible energy, knowing the audience was Jews from across the U.S. and non jews as well.

Most remarkable—no antisemitic incidents. A striking contrast to Europe. Boca Raton is almost a second home for Florida’s Jewish community, and we felt it immediately. The skill of the Jerusalem Ballet’s dancers and choreographers was genuinely appreciated—people watched, returned, and wanted more.

With God’s help, this collaboration will continue. In August, a group of Florida students will come to Jerusalem to study with Nadya. The Israeli Consulate in Miami became our full partner, and the city itself was very different from expectations. Miami has Holocaust and October 7 memorials, an active Jewish community, and a supportive atmosphere. Our materials can serve schools and universities alike.

– You also performed at a Jewish school in Boca Raton. How did that come about?

– We performed at a private Jewish school, it was very moving. The dancers gave a short gala concert, performing much of our repertoire, and were warmly welcomed by the director and teachers. They wanted to hear about Israel today and explore possible collaboration.

– How did Nadya’s choreography to Schindler’s List music impact students and faculty?

– It was deeply powerful. University students, many non-Jewish, participated. The finale, with five dancers forming a Star of David with their bodies, was particularly moving. FAU students also participated in Memento—two months of remote Zoom training with Nadya. On stage, they were indistinguishable from Jerusalem Ballet professionals. And in the final moments of Memento, as dancers moved to Hatikvah, both performers and audience wept. That, I think, is the peak of a ballet experience.

                 From the Jerusalem Ballet’s tour to Florida
            Photo courtesy of Florida Atlantic University, 2025

– If you had to sum up the purpose of the Jerusalem Ballet in one sentence…

– I would say it is a deeply important artistic endeavor for Jews and an excellent tool for educating the world. We have endured much, and now we want to continue living in harmony with everyone. Expanding our audience is vital, so the country and the world can understand the Jerusalem Ballet. It is ballet that matters for all—every Israeli, every Jew, every human being. We are sending the world a message—beyond the art itself.

Photos courtesy of Dr. Ayelet Giladi, the Jerusalem Ballet and the Florida Atlantic University