Batsheva Dance Company Deca Dance Review Essay

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Batsheva Ensemble are an international company of young dancers, training under the direction of Ohad Naharin. As a group, they stand out for their technical skills and for the free, exhilarating range of their movement – a particular trademark of Naharin's choreography. Now this Tel Aviv-based company also need the nerve to dance through political protest. During their current UK tour, there have not only been anti-Israeli demonstrations outside the venues but inside the performance spaces proper.

At Sadler's Wells on Monday, the audience were fiercely supportive of the dancers, countering every disruption with their own cheers and applause. Many were showing support for Naharin, a liberal Israeli who has criticised his government's policies towards Palestine and whose type will surely become essential if and when some conciliation is achieved within this harrowed area. To the demonstrators outside, however, Batsheva were perceived only as a government-supported company and part of Israel's attempt to whitewash its international image.

In Britain, we rarely see art and politics colliding in this way, and it made for a moving, if troubling, night. The show, Deca Dance, is a collage of extracts from Naharin's choreography, set to an eclectic range of music, Arabic as well as western. For 90 minutes, we are treated to an exuberant kaleidoscope of colours, dynamics and forms: churning tribal ensembles alternating with slow, sculpted quartets; ripping, slashing, juddering movements that refine into small, polished images.

Naharin's style is infectious. When members of the audience are coaxed on stage to dance, they comply with a remarkable lack of self-consciousness. It is highly effective, too, having nurtured a number of world-class choreographers, among them Hofesh Shechter. The issue for Israel, however, is that most of these alumni have opted not to remain in that country, but to live and work elsewhere.

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Ohad Naharin has been hailed as one of the world’s preeminent contemporary choreographers. As Artistic Director of Batsheva Dance Company since 1990, he has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography. Naharin is also the originator of an innovative movement language, Gaga, which has enriched his extraordinary movement invention, revolutionized the company’s training, and emerged as a growing force in the larger field of movement practices for both dancers and non-dancers.

Ohad Naharin

Born in 1952 on Kibbutz Mizra, Ohad Naharin began his dance training with the Batsheva Dance Company in 1974. During his first year with the company, visiting choreographer Martha Graham singled out Naharin for his talent and invited him to join her own company in New York. While in New York, Naharin studied on scholarship at the School of American Ballet, furthered his training at The Juilliard School, and polished his technique with master teachers Maggie Black and David Howard. He went on to perform internationally with Israel’s Bat-Dor Dance Company and Maurice Béjart’s Ballet du XXe Siècle in Brussels.

Naharin returned to New York in 1980, making his choreographic debut at the Kazuko Hirabayshi studio. That year, he formed the Ohad Naharin Dance Company with his wife, Mari Kajiwara, who died of cancer in 2001. From 1980 until 1990, Naharin’s company performed in New York and abroad to great critical acclaim. As his choreographic voice developed, he received commissions from world-renowned companies including Batsheva, Kibbutz Contemporary Dance Company, and Nederlands Dans Theater.

Naharin was appointed Artistic Director of Batsheva Dance Company in 1990 and has served in this role except for the 2003-2004 season, when he held the title of House Choreographer. During his tenure with the company, Naharin has choreographed over 20 works for Batsheva and its junior division, Batsheva Ensemble. He has also restaged over 10 of his dances for the company and recombined excerpts from his repertory to create Deca Dance, a constantly evolving evening-length work.

Naharin trained in music throughout his youth, and he has often used his musical prowess to amplify his choreographic impact. He has collaborated with several notable musical artists to create scores for his dances, including Israeli rock group The Tractor’s Revenge (for Kyr, 1990), Avi Belleli and Dan Makov (for Anaphaza, 1993), and Ivri Lider (for Z/na, 1995). Under the pseudonym Maxim Waratt, Naharin composed music for MAX (2007) and edited and mixed the soundtracks for Mamootot (2003) and Hora (2009). Naharin also combined his talents for music and dance in Playback (2004), a solo evening which he directed and performed.

In addition to his work for the stage, Naharin has pioneered Gaga, an innovative movement language. Gaga, which emphasizes the exploration of sensation and availability for movement, is now the primary training method for Batsheva’s dancers. Gaga has also attracted a wide following among dancers around the world and appealed to the general public in Israel, where open classes are offered regularly in Tel Aviv and other locations.

Naharin’s compelling choreographic craft and inventive, supremely textured movement vocabulary have made him a favorite guest artist in dance companies around the world. His works have been performed by prominent companies including Nederlands Dans Theater, Ballet Frankfurt, Lyon Opera Ballet, Compañía Nacional de Danza (Spain), Cullberg Ballet (Sweden), the Finnish National Ballet, the Paris Opera Ballet, Balé da Cidade de São Paulo, Cedar Lake Contemporary Ballet (New York), Hubbard Street Dance Chicago, and Les Grand Ballets Canadiens de Montréal. Naharin’s rehearsal process with Cedar Lake Contemporary Ballet during a restaging of Deca Dance was the subject of Tomer Heymann’s documentary Out of Focus (2007).

Naharin’s rich contributions to the field of dance have garnered him many awards and honors. In Israel, he has received a Doctor of Philosophy honoris causa by the Weizmann Institute of Science (2004), the prestigious Israel Prize for dance (2005), a Jewish Culture Achievement Award by The Foundation for Jewish Culture (2008), a Doctor of Philosophy honoris causa by the Hebrew University (2008), and the EMET Prize in the category of Arts and Culture (2009). Naharin has also been the recipient of the Chevalier de l’Ordre des Arts et des Lettres from the French government (1998), two New York Dance and Performance (Bessie) Awards (for Naharin’s Virus at the Brooklyn Academy of Music in 2002 and for Anaphaza at the Lincoln Center Festival in 2003), the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement (2009), and a Dance Magazine Award (2009).  In 2013, he received an honorary doctorate from Juilliard.


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