Bravo and Mazel Tov

Batsheva Company is still the Judith Brin Ingber top attraction in , though. You might want to re-read Brian Schaefer’s srael has been the fount of many article in the DCA’s spring newsletter things over the centuries, and called “ Diary, Following Dance Idance-wise it is also a burbling to Unexpected Places” to get a sense spring. In the 1960s its of the excitement and commitment took on an American slant when the company engenders. Several ex- agreed to lend many traordinary events marked Batsheva’s of her works to train the new company 50th anniversary. Celebrations in Tel founded by the Baroness Bethsabée Aviv offered audiences, academics de Rothschild. (Bethsabée in Hebrew is and dance professionals a wide range Batsheva, so the company was named of experiences to appreciate the after its benefactor.) accomplishments of this unique dance Known from its beginning in 1964 company. First there was a two-day as the , this academic conference presenting troupe has produced many generations scholars from diverse disciplines at speaking at Batsheva of dancers and choreographers. Ohad Tel Aviv University, on Wednesday Dance Company's 50th-anniversary gala Naharin, frst a dancer and now the and Thursday, June 18-19, 2014. Those Photo: Gadi Dagon company’s core choreographer, has who attended the conference were also directed the company for the last 24 invited to an open company rehearsal, enhanced by a screening of the flm years. His works are appreciated the on Wednesday evening at Suzanne “Fifty Years of Creation, a Short world over, as is his Gaga Technique. Dellal Dance Centre. A special Collage of Works.” Considering all In addition to Batsheva, his works exhibition introduced the Batsheva the papers and panels, videos and can be seen in companies including Dance Company Archives, opening dance demonstrations, one can only the Alvin Ailey Dance Theater; the on Thursday evening at the Tel Aviv say that diverse opinions ruled Cullberg ; Paris Opera Ballet; Municipal Library. The rousing fnish the day. Attempts to defne Batsheva Lyon Opera Ballet; Hubbard Street was Batsheva’s gala performance as “modern,” “contemporary” or “post- Dance Chicago; Rambert Dance at the Tel Aviv Opera House on modern” broke down, as did endeavors Company and others. Saturday, June 21, 2014. to interpret its repertoire through One way Israeli dance has become The conference was well organized gender studies and feminist theory. well known internationally is through by dance scholar Dr. Liora Malka Even a neat, 50-year timeline for the the remarkable yearly dance festivals Yellin, a professor in the Department company proved elusive. in Israel. The International Exposure of Theatre Arts, with the aid of an An unintended summary of the festival has brought international academic committee; the Dance Library conference could be seen in the subtitle presenters and curators to see dance of Israel directed by Victoria that the Batsheva Archives used for companies and independent dance Khodorkovsky; and the Batsheva its exhibit: “More than One History.” artists over the last 19 winters. Archives directed by Iris Lana with There were so many histories and The Karmiel Festival began as an assistance from Hagar Cygler. The views presented during the two days Israeli folk-dance festival in 1988. conference entitled “The Batsheva that one could see the richness and Now this summer festival presents Dance Company: Body, Dance, Culture,” provocative nature of Batsheva. These Israeli dance of all styles; and several included presentations by dancers, varied opinions were exciting to hear, hundred thousand visitors can also view scholars and artists. Guest speaker because they showed how many valid international companies during this Marc Franko, from Temple University and diverse views can come together week-long event. Other festivals in Philadelphia, delivered the keynote when discussing the company. The include the Curtain Up festival (Arimat address. Dr. Yellin’s enthusiasm was attendees went beyond the usual scholars Masakh). The newest is the Diver palpable as she opened the conference at an academic conference, and they Festival featuring non-mainstream with her thoughts on a possible histo- had many different reasons for coming. subject matter. riography of the Batsheva repertory, During the “Interdisciplinary Panel”

Fall/Winter 2014 | DCANews 11 with scholars from the fields of sociology, anthropology and cultural studies, theater professor Freddie Rokem said, “The whole world looks at our dance and the outside says that there’s something Israeli, something authentic,” which seemed to be what many were seeking. Batsheva has represented and embodied its Israeli identity in all its different eras and guises. The body was considered strong and positive in 19th-century Zionism. When Batsheva was created in the 1960s, it was as if Max Nordau, the early Zionist philosopher, was saying, “Here I see my slogan: healthy souls in healthy bodies.” Conferences in the USA allow time for panelists to make rebuttals and for audience members to ask questions, so it was hard to get used to the Israeli Rena Gluck and Galia Gat in Herodiade 1965, Photo: Jacob Agor system of listening to papers without planned response time. Nonetheless, role until just before going on stage. through the strong jumps in the air. All Liora Bing-Heidecker’s paper on That caused terrible tension among dancers wanted to feel what is feminine John Cranko’s 1971 the dancers. and what is masculine, and Graham Song of My People-Forest People-Sea Scholars searched for a vocabulary allowed us this in her works,” Sharni (Ami-Yam Ami-Ya’ar)—the frst dance to describe the Israeli body, as Yael said. The audience broke into applause. work about the Holocaust shown in Nativ proposed in her paper, “An As an Israeli man, Batsheva dancer Israel—caused debate. She said Israeli Body: Images of Masculinity, Moshe Efrati looked different than Cranko asked the dancers to do only Sexuality and Nationality at Batsheva, the typical American male. A flm the simplest movements without Past and Present.” Looking at Graham’s clip of him speaking about his love of expression, while the audience heard Embattled Garden, Nativ said the rhythm and jumping indicated some Uri Zvi Greenberg’s powerful poem choreographer still showed women differences. Rahamim Ron talked about his father disrobing in the whose bodies were part of a symbolic, about auditioning for Graham and his forest in front of his murderers. Some kinetic and social construct belonging innocence coming from folk dancing on conference attendees who had to the West, whereas a transformation the kibbutz—he said he just followed performed in the work stood up to of the Jewish body in Israel liberated the audition class, and didn’t know argue with the presenter. the Jewish male from Diasporic femi- what he was supposed to do. When The second day offered an ninity. As in the Soviet Union, Israeli he received a letter of acceptance, he interview with Rena Gluck, one of men appeared as noble workers. was baffed; though Ron became one the founding Batsheva dancers. A former Batsheva dancer in the of the leading male dancers of the Gluck talked about learning Graham audience, Pam Sharni, argued that company. According to Nativ, the West technique, and what it was like Nativ was stereotyping images of had expectations of men on stage for the Israeli dancers who went to femininity and masculinity in the that were completely foreign to the the Graham studio in New York. repertory prior to Naharin, however. masculine image in Israeli Zionism. She also spoke of how she learned “Maybe men were men, and women She also said that in Naharin’s Graham’s role in Herodiade, and were women, but it was all part choreography today masculinity has a demonstrated different sections of what was happening. I think new look. Movement can be non-sexual of the work displaying her still through the technique lessons with and pure, rather than either feminine or powerful charisma. Gluck also Graham the men could feel something masculine. She asked if we could see described the tedious, incessant way feminine through the contraction, masculine alternatives, with options the dancers had to rehearse, never which was very feminine, and the such as queer and hybrid. Speaking knowing who would perform a Graham women could feel what was masculine from the audience, Rena Gluck

12 DCANews | Fall/Winter 2014 objected to this neat delineation. slightly, and their entire skeleton of the past. Instead, he said that She also stood her ground to describe seems to hold itself and to elevate “the past exists as it is included and the diffculty of working with foreign the fesh gently because of a delicate symbolized in historical memory, and directors who didn’t understand change in physical attitude. Thus, this is why we are rewriting history in Hebrew or the culture, and how that instead of dropping down and following new textures.” distanced them from the dancers and the laws of gravity, the body itself Those attending the conference were the public. creates a new source of energy. In given the added treat of attending an In her paper, Ruth Eshel, critic for consequence, foat exists. Float is one open company rehearsal, held in the the daily Haaretz and editor of the instruction in Gaga classes.” Suzanne Dellal Centre for Dance and quarterly magazine Dance Today Mark Franko’s keynote, “Historiciz- Theatre. Located in the old, pictur- (Mahkol Ahkshav), spoke about changes ing the ‘Re’ in Danced Reenactment.” esque Neve Tzedek neighborhood of in the company during the 1980s, diverged from the analysis of Tel Aviv, the Suzanne Dellal Centre a transition time between its early Batsheva’s history and repertory has been Batsheva’s home since 1989. repertory and Naharin’s. She said that to delve into “danced reenactment.” There are several theatres and was when there was international Franko’s ideas were challenging, studios; and we found Naharin and his excitement and acceptance, but again when he said that it is daring to dancers in the biggest studio with the audience objected. This time it was perform a work without the original bleacher seating at one end. He the director of the Batsheva Archives, interpreter, and when he disagreed conducted the rehearsal in his unruffed, Iris Lana, who said Batsheva had with seeking authenticity instead quiet mode, but frst he addressed been acclaimed on its international discussing concepts of reinventing the audience: “We just met upstairs tours long before Naharin became and reenacting a dance. Because of to decide what to do, but in the its choreographer. his interest in archives, and the fact meantime I’ve changed my mind.” We also heard a personal memoir that as consultant to the Batsheva The audience laughed, because he from stage designer , Archives he helped them attain their said it in a lighthearted way. “My frst who collaborated with Graham. First state-of-the-art presence on-line, no one audience is ‘me.’ I ask myself to think, he had designed for Inbal Dance expected his approach. In speaking to feel, to imagine and to be sensitive, Theatre, and Graham came backstage about dancer Martin Nachbar’s which is a kind of paradox because we to meet him telling him how much reenactment of by the German live in a rude society. Though we’re not she wanted to dance within one of Expressionist Dore Hoyer, Franko really like that…Maybe I come up with his sets. Karavan worked with her in wasn’t interested in a representation virtuoso movement, fight, and perhaps New York, and collaborated with her several times. When it came to analyzing specifc works, different scholars focused on Naharin’s Kyr, Mamootot, Anaphase and Naharin’s Virus. Also Dr. Einav Katan, from Humboldt University in Berlin, spoke about Gaga Technique and its sensuality. While she spoke, two dancers from the company, Nitzan Ressler and Adi Zlatin, demonstrated their daily investigations and Gaga movements. “Just before the class began,” Katan said, “they might have been lying on the foor tired, their muscles surrendering to gravity. During practice, however, their beings change modes. They stand up and are ready to move. Ohad Naharin, the teacher of the class, instructs them to foat, and immediately the vertebras of their spines move away Batsheva Dance Company in The Green Table, Photo: Jacob Agor from one another. The arms are lifted

Fall/Winter 2014 | DCANews 13 I fnd a way in movement to sublimate her shorts, which were longer than with tremendous force as the singer pain…Sometimes things look out the shorts themselves. Dancers in a sang, “I’m falling, falling, falling,” one of of focus, or the dancers break stereo- group were on their knees punching the few times the sound coordinated types in movement. I do like to look at a the earth in slow motion. Then they with the movement. beautiful body, its hue and texture, but twitched on the ground. One group Naharin said, “A lot of what we want I get bored if it’s only beautiful…It all counted in Arabic, and then in other is for you to understand what we do. gives me many options. I try not to hide languages. Naharin said, “OK, thank It has a lot to do with the space, and things from myself. … and technically, you. Can we do sections 1-9 with I want you to see the content and the well, one needs tools.” the women?” We saw a slow hip swivel form as one thing. Put the form and His tools have multiplied over the in a deep plié, while another dancer the content into a blender. Some say, years; and his Gaga Technique has came in with an odd limp. Later we ‘Oh, this is Israeli,’ or ‘This is the story taken the world by storm. When asked would recognize these sections, when behind it.’ Others say, ‘This is the army about it, he said, “We all started today they were danced at the Gala. experience.’ But it’s like gossiping. with Gaga. It’s not choreography, but Naharin offered no explanation That’s not really what it’s about. discovery. Dancers need a safety net or context at the rehearsal. The Speed, volume, texture—what tells of when they’re taught ‘a technique’ that movements were repeated and then effciency—that’s more important than takes away from their authenticity. repeated again, apparently to test what the story is, or what comes from Gaga helps a lot.” At the rehearsal, juxtapositions of sections from different or to the country.” he simply asked for different sections dances and also simply to rehearse. There was a contradiction in to be danced. A dancer came out and But he did say, “One of the important Naharin’s sensitivity to his dancers, crossed his arm over his collar bone. aspects of being a dancer is how we their fatigue and the reason for their Then four others posed around him. work on interpretation. It’s not about dancing. He said, “Firstly we dance A duet proceeded, and a girl kissed my choreography. It has to do with for each other. We don’t need an an odd girl out. A man brutally what turns me on, why we want audience. We do this for and with each dragged another man. Then the dancer to be together and how can we go other.” But on the other hand, he was identifed as Billy sat in an exagger- beyond what we know from yesterday. demanding until through repetition the ated split and lifted his hips, and a The dancers don’t know what song dancers arrived at his desired outcome. woman came up behind him and kicked I’ll pick. Alright? Do you want to Obsessive and risky were some of his ass. Incongruously she moved start, and then I’ll bring the music in?” the words that came to mind as into a fabulously high arabesque, but The dancers gave him an answer, and we watched, with dancers in high what we noticed were the pockets of some sashayed onto the foor and fell relevé suddenly dropping to the foor, creating surprising exchanges in odd holds that could be pleasurable or dramatic because of changes of weight or high extensions, then low traveling squats and random moments of unison without obvious logic or organic fow. Certainly at the rehearsal we became more attuned to Naharin’s brand of movement and its unique organization, preparation for the sections chosen at the Gala. Many conference attendees, plus former Batsheva dancers, enthusias- tic supporters and the general public went to the Municipal Library called Beit Ariella the following night. It was the opening of the Archives' exhibition, which ran until September 11. The Municipal Library is also the location for the impressive Dance Library of Echad Mi Yodea at the Batsheva Gala, Photo: Gadi Dagon Israel. For those who love rubbing elbows with stars, this was the frst

14 DCANews | Fall/Winter 2014 chance to talk with or simply watch can fnd the Municipal Library there because, he said, there were so many dancers who had returned for the and the well-known Cameri Theatre; foreigners present. He was charming occasion from across the country and the Tel Aviv Art Museum; also the and eloquent —not traits this reticent from abroad. Iris Lana, archivist and municipal court house and restaurants. and perhaps shy artist is known for. director, opened the evening in the The area is always flled with people After emphasizing his thanks to the 411 well-appointed library theatre by day or night. dancers who performed with Batsheva speaking of the challenge of fnding After a lavish, outdoor reception, this over the years, his talk morphed records, photographs and information remarkable evening began with a new amusingly into a show-stopping about the dances in the repertory documentary, The First Night, about rap listing “the many thousands over the last 50 years. Nonetheless, Batsheva’s premiere performance in who worked with the company—and the material is now available on-line 1964 held at the National Habimah you can fnd out who by going to the and is an impressive new tool for Theatre. The flm, by Gilad Tokatly, Archives.” Then he listed all kinds of researchers, critics and dance historians. was a surprise because Tomer Hyman’s jobs: from the 136 choreographers to [See http://www.batsheva.co.il/en forthcoming biopic about director the lighting designers, technicians, /?iid=3183] Ohad Naharin had been the expected electricians, costumers and wardrobe At the exhibit one could view opener. However, since the frst 24 assistants, down to the very last skilled posters, stage designs and enlarged years of the Batsheva Company were artisan needed to produce a dance photographs attesting to the remarkable entwined with Martha Graham and evening. The names of all the dancers breadth and sweep of the choreog- were projected on the back scrim and raphers. For example, we saw the balloons foated in. young Israelis in Martha Graham’s In the second half of the program, Acrobats of God in 1964; and Rina the audience greeted excerpts from Schenfeld and Moshe Efrati in Naharin’s works with utter enthusiasm. Errand into the Maze; John Cranko’s We saw the pulsing, driving, vastly dif- Ebony Concerto with Yael Lavy, Yacov ferent Zachacha (1998), Z/na (1995), Sharir and Yair Vardi (now the Anaphase (1993), Naharin’s Virus director of Suzanne Dellal Centre) (2001), George (2006), Zalman (2006), from 1971; Kurt Jooss re-staging his Seder (from the original Kyr, 1990), Green Table in 1975; and the young and Sadeh 21 (2010). Some are now Naharin on his first tour with classics. The best known section was the company. Above the handsome “Who Knows One” (Echad Mi Yodea) displays of photos most of the head- opening with male and female dancers lines and descriptions were in clad alike in black business suits Hebrew, except for Franko’s favorite with white shirts. The usual version word, “reenactment,” in English. Ohad Naharin and the author at The shows the company members seated Touring pictures, studio shots, informal International Dance Exposure Festival on folding chairs arranged in a semi- and professional photos well illustrated (Winter 2013) circle. During the gala, however, the the youthful winning character of the whole stage was flled with rows and company through the years. her works, Tokatly’s documentary with rows of dancers on chairs totaling Performance programs were spread Graham ever-present turned out to be perhaps 70 performers. The Batsheva on a center table that became the focal a ftting opener. Interviews and clips Dance Company was augmented by point of the evening. Dancers, some with stars and choreographers of the the Batsheva Ensemble and students completely white-haired, excitedly Batsheva Dance Company cemented from the Maslool Professional Dance paged through the programs giggling the wonder at what a truly unusual Program and Bikurey Hatim Arts over photos showing their youthful company the baroness had founded. Center. The effect of them all moving selves, and the dances still part of their Some featured dancers included Robert together and singing the Passover song muscle memory. Cohan, Moshe Efrati, Rina Shefeld and Echad Mi Yodea “Who Knows One”, The culmination of the Batsheva Rena Gluck. The flm also showed the backed by the rock band Tractor, was celebrations was the gala performance company’s extraordinary successes on its grand indeed. Many in the audience at the elegant Opera House situated world-wide tours through the 1970s. treated it like a rock song, joining in in a plaza akin to New York’s Lincoln Following the flm, Naharin came on the chorus. (The song engages the Center for the Performing Arts. In on stage attired in his usual jeans whole family at the conclusion of the addition to the Opera House, one and dark shirt. He spoke in English yearly Passover meal. It asks, “Who

Fall/Winter 2014 | DCANews 15 knows one? One? I know one. One is individuality? Does one dare to think The Miracle: the God of the world, above in the sky.” there might be hope with the chance In the 1920s, the frst cultural clash The questions and answers continue to start again? The magnitude of it all occurred when the pioneers came faster and faster, the answers shouted was astounding. from Germany, a global center of out by all those assembled at the The cascade of Naharin dances culture, and created modern dance table. For example, “Who knows two? established the choreographer’s in Israel for the frst time. They I know two. Two are the tablets of originality and their variety provoked connected the revolutionary spirit the covenant. Who knows three? I wonder. At one time, as the dancers they brought with the local spirit, know three. Three are the patriarchs.” moved, a disembodied voice intoned dancing barefoot on the planks The song continues through the the words “Forget the time of Bialik of public buildings in Tel Aviv, or number 13 triumphantly fnishing (the national Israeli poet), of your on the sand dunes or on the tables with “I know one. One is the one God home with your parents. Watch and of the kibbutz. They built studios of the world.”) listen.” But we notice it is the dancers and opened the eyes of the audi- who are watching us. We hear a strange ence. The pioneers danced until they sound track, and wonder if the dancers grew old, and until their free dance, are laughing or crying. Neon colors also called the Expressionist dance, swathe the stage, making it magical was exhausted and slowly faded. and dangerous by turns. At the end of the gala, the dancers’ This introduction enhances the names disappeared from the wall and feeling of wonder regarding a different dancers clambered onto it from behind. encounter of cultures, once again a In the most dramatic moment from clash. This time, the story concerns a Naharin’s Sadeh 21, they teetered atop baroness from the Rothschild dynasty, the wall and then fell into the black Batsheva, who fulflled her Zionist abyss behind. They were jumping, dream and immigrated to Israel, diving, struggling and soaring. Incon- where nobility was not a function of gruously we heard “Somewhere Over wealth, and where the only palaces the Rainbow” on the sound track, remaining are those from the days and were left with glorious images of of the Greeks and the Romans and dancers fying, ignoring boundaries Herod. She brought Martha Graham Pam Sharni and Laurie Freedman, and propelling us forward, too. We with her—Graham, the dancer, the Batsheva dancers in the 60s and 70s. were all free—dancers and audience revolutionary, the artist. Graham came Judith Brin Ingber on right at the members—to imagine the future to a city with only one studio that Tel Aviv University Batsheva and fy into it. What will Batsheva had a wooden foor. Dance Conference conjure for us next? Batsheva had inexperienced but After the concert, the audience enthusiastic dancers who were fearless The cumulative effect of the song, walked out onto the plaza and was and beautiful. They had already the unison movement and the musical treated to desserts and more wine. danced on the kibbutz, and had volume penetrated to the bones of the Now we had time to look through the served in the army. They had courage audience. A kind of fugue was created jubilee program booklet. Its modest and in a giant leap over voids of as the dancers, moving in waves, tipped cover with a touch of gold print said knowledge they stood on the theater backward in their chairs, jumped to simply in small letters “50, From stage and called themselves the their feet or threw their clothes in the air, 1964 to 2014, The Jubilee Year of ‘Batsheva Dance Company,’ and the while others collapsed onto the ground. the Batsheva Dance Company.” But world applauded them. Despite Naharin’s admonition in his its over-sized thickness and weight Batsheva’s dancers now danced the rehearsal not to look for meaning, it proved something big had occurred. Greek dramas. The Graham style was hard to ignore the piles of clothes The essay by Israeli dance writer Gaby became the spoken language of and shoes without thinking of Aldor stood out. She has given her Israeli dance. Rena Gluck, Galia Gat, World War-II concentration camps. permission to quote from it. We await Rahamim Ron and Ehud Ben David Did others think instead of civilians her forthcoming book on Ohad Naharin were dancers from the troupe who also morphing into soldiers, or of the to be published by Israeli dance pub- experimented and created. There was religious in their black suits disrobing, lisher Asia Press. Part of what she a feeling of success and blossoming. or of the waste of youth and the loss of wrote in the Program booklet says: For the second time in the history of

16 DCANews | Fall/Winter 2014 Israeli culture there was funding for a dance company—the frst was for the Inbal Dance Theatre—and now we joined the great big world. In spite of what was called ‘the energy of Israeli dancers,’ they still danced a dance whose body was Israeli but whose language, in all its beauty, was foreign. The Graham body was strong, upright and fexible, but also angular and took space in leaps that were not upwards but sideways and down, with a bold look. The Graham legs were taut, but the foot was not sharp as in classical ballet. Batsheva danced Graham’s Errand into the Maze and Herodiade, Embattled Garden and Acrobats of God. The fnest artists were called upon to create sets. The domestic and the international Echad Mi Yodea at the Batsheva Gala , Photo: Gadi Dagon mixed once again; and it seemed there had never been a fner or a richer style The Gift: prayer toward his teasing partner. than Graham’s. The critics lauded We have received a gift wrapped Stop Peter Rombouts from singing the audacious young company. Rina in darkness. Flickering it appears the Baroque song in Mabul. Shut Shenfeld was considered one of the and disappears, leaving traces of the billowing coats in Arbos. Cover world’s finest dancers. Artistic light and color, touching us and Stephan’s nudity in Mamootot, in directors came and went, and bold striking our hearts, leaving enigmas. the role of death who mocks his own souls left the company to found their The world in which we live is role, kisses and spits on his body, and own ensembles. But like any living different, after the years in which carries with him she who has no life. organism, this system too became Naharin created his works. For the Now bring back the audience tired. The Graham body could no frst time, a native Israeli leads the members who were invited on stage longer respond to the needs of company, one who is a gifted dancer, in Anaphase and take away their its young members, and after the a kibbutz boy who studied with moment of glory, their courage to post-modern revolution in New York Graham as well as Béjart and who dance in front of everyone. Remove rejected glamour in favor of the became one of the world’s most the birthday party that will never simple and the mundane, a bit like important dance artists. be forgotten by those who remained the rejection of the pathetic in post- seated, embarrassed, until the entire war Germany, a space was created. Imagine our memory without the company gathered around with Moshe Efrati worked with deaf parade of water pitchers in Anaphase. celebratory balloons. Take back and hearing dancers to create Try and erase Mabul from your the names: Black Milk, Mamootot, powerful works. His company was mind. Take the wild chaos of organs Z/na, Kaamos, Hora, and Sadeh 21, called Kol Ve Demama (The Voice and in the solo of that work and fold them Perpetuum, Sabotage Baby. Imagine Silence). Oshra Elkayam creates a back into each other. Silence the un- the cliffs of Timna Park without frst dance theater and the Kibbutz reciprocated cry in Moshe. Remove Telophaza, and the Israeli dance Dance Company embarks on inter- the judges’ robes in Z/na and the scene without Rakefet Levy and national stages. Artistic directors yell “Objection!” Bambi and Ohad Naharin. of Batsheva came in—David Dvir and Erase the arc of the foot in Rachael Here there is no collision of worlds Moshe Romano and Shelly Shir—and Osborne’s attitude, and the comic- and cultures. This is not the culture too many dancers to mention. Now serious plea by Orian, the frst to that created the turn-of-the-century with the Suzanne Dellal Centre dance with Mari Kajiwara in Pas- revolution in Germany, and not the built, there is an expectation of somezzo as he shuffes forward, immense talent of the American something new. his two hands locked together in Graham. Nor is it Inbal Dance Theatre,

Fall/Winter 2014 | DCANews 17 beautiful with a tribal magic. This in charge of the Gaga teaching Francisco; Brooklyn; Washington D.C.; is something that has grown and sessions and author of the blog and Chapel Hill. At the New York blossomed here, and has taken off www.DanceInIsrael.com. Public Library for the Performing and broken all barriers. She wrote to me that “We didn’t Arts at Lincoln Center, through The original Batsheva Company postpone the Gaga Intensive, but January 5, 2015 there was an exhibition illuminates the current company about half the dancers had to cancel. documenting the work of American with the historic light of the founders, The fact that the FAA stopped choreographers who have restaged its international context, and the fights into Israel just about fve their pieces on Batsheva, including dancers and artists who decorated days before the course made it Martha Graham, , its ranks. The current ensemble does a logistical nightmare for the dancers , Donald McKayle, not shame the legacy of the veteran who still wanted to come from abroad, José Limón, Robert Cohan and more company, but rather continues with and for me on the administrative recently Elizabeth Streb, Doug a boldness and originality that are end. I’ve defnitely gotten good at Varone and Danny Ezralow. After again applauded all over the world. running for cover, though we’re the tour, the company returned to Like two sisters, the elder looks lucky enough to have a “safe room” Tel Aviv to ready itself for the upon the younger with a tender gaze, in our apartment so I don’t need to run annual International Exposure concerned, surprised and approving. far to a bomb shelter if I’m at home. Festival at the Suzanne Dellal Centre Naharin himself was there; he danced I also know every safe space at for Dance and Theatre, December 3-7, with Graham. Like two sisters, the Suzanne Dellal. I never thought I’d 2014. At the International Exposure younger looks ahead, and in spite have to kick off a Gaga workshop with Festival, Israel’s leading companies of innovation, as in any good family, a tour of the shelters and reinforced were scheduled to perform including she knows she will have support. areas, just in case.” Batsheva; the Kibbutz Contemporary But today, it’s a family celebration. There is a special duo of Israeli Dance Company; Inbal Pinto and Please gather to take a group photo. dancers, Niv Sheinfeld and Oren Laor, Avshalom Pollack Company; Yasmeen No, the elders of the tribe do not need who work abroad extensively. In the Godder; the Vertigo Company; along with chairs. They can still demonstrate USA, they have worked at Rutgers accomplished independents including pieces from ’s The Mythical University. Sheinfeld and Laor sent dancers who got their start in Batsheva Hunters, or John Cranko’s Song of My me an email on August 21, during the such as Yossi Berg and Oded Graf, and People-Forest People-Sea (Ami-Yam war, which spoke for many: “This past Arkadi Zaides. (For more information, Ami-Ya’ar). They stand upright, month we’ve witnessed once again the contact Rachel Grodjinovski, the because they cannot stand otherwise. rise of violence and human suffering Foreign Relations director for Suzanne And you, young ones, stand silently in our region. At times it seems almost Dellal Centre for Dance and Theatre, and think of the fesh separating from hopeless that sanity will ever conquer [email protected]). the bone in the language of Gaga. hostility and aggression, which have Personally I am looking forward Breathe into the universe. Embrace become too common in the Middle to new works by Barak Marshall, the moment. With an almost imper- East. The question regarding the who recently was appointed director ceptible movement, nod your head position of Art, and its necessity in this of Inbal Dance Theatre. I also want and see the twinkle in the eyes of surreal atmosphere, is always with us to see Idan Cohen’s new work, Yossi those who preceded you; and the in the studio and on stage when we Berg and also Niv Sheinfeld and Oren most beautiful dance, that of memory, perform. We still believe that Art Laor. The latter duo won a special shall now begin following its path to builds a bridge between people, and commendation at the International the next celebration…” that it encourages humanism and Exposure Festival for the best work compassion in response to hatred, of 2013 from the new Critics Circle. Epilogue: racism and apathy. In these diffcult Their duet Two Room Apartment The weeks after my return home times we premiered our new work with re-imagined a work of the same to Minneapolis, MN saw rocket 13 young dancers at the very beginning name by Liat Dror and Nir Ben-Gal incursions from Gaza into Israel of their professional careers, and the from 1987. increasing so substantially that war work with them was our small ray No doubt the company of companies, broke out. I was in touch by phone and of light.” Batsheva, will continue to inspire and email with colleagues in the dance In its 50th anniversary season, innovate keeping up its remarkable world as well as family and friends. the Batsheva Dance Company position in Israel and abroad. Bravo At the end of August I received an toured the USA, visiting Miami; and mazel tov to Batsheva for its email from Deborah Friedes Galili, Los Angeles; Santa Barbara; San jubilee year. y

18 DCANews | Fall/Winter 2014 Batsheva Gala, fnale, Photo: Gadi Dagon

Fall/Winter 2014 | DCANews 19