Annual Report Batsheva Dance Company 2018

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report Batsheva Dance Company 2018 annual report BatSheva Dance company 2018 דוח שנתי להקת מחול בת-שבע )ע״ר( Mamootot “His ingenuity and brilliant imagination contain the contemporary, classical, traditional, the Ascaf Naharin, photo: Ohad by club–all at the same time [...] Not only did Ohad Naharin place Batsheva as one of the best dance companies, but he also reshaped the choreographic landscape." - Rosita Boisseau, Le Monde, October 2018 In September 2018 Batsheva stepped into a new era, as dancer, Dear choreographer and teacher Gili Navot was handed the reins and became the Company’s Artistic Director. Gili is a former Company Friends member, assisted in re-staging Ohad’s repertoire in Israel and abroad and has graduated with honors from the Kibbutzim College of Education, Technology, and the Arts with a BA and teaching certificate in dance education. Ohad continues to be the Company’s house choreographer and will devote his time to working with the dancers and the research of Gaga. In his last season as Artistic Director, Ohad Naharin invited two guest choreographers—Marlene Monteiro Freitas of Portugal and Roy Assaf of Israel—to create full-length works for the Company and for the Young Ensemble. This commitment to nurturing new choreographic voices expanded the range of work we offer to our audiences' experience. All in all, Batsheva reached 100,000 audience members in 220 performances this year, both in Israel and on tour around the world. Great progress was made in 2018 towards the realization of the Neve Sha’anan Arts Campus in South Tel Aviv to be launched in 2022, a paramount project which will finally provide Batsheva with a home of its own with state-of-the-art facilities, including a dance center, a 550-seat theater and a Black Box theater, to showcase an international and pluralistic program across all disciplines for all audiences. We wish to thank all the supporters and donors, our colleagues and friends and our great audiences, for making all we do possible. Warmly, Ohad Naharin and Gili Navot in the studio. Photo: Ascaf Photo: in the studio. Naharin and Gili Navot Ohad Ittamar Givton Dina Aldor Chairman of the Board Executive Director Arts Campus in Neve Sha’anan. Design: Sir David Adjaye Arts Design: Sir David Sha’anan. Campus in Neve In a joint venture with the City of Tel Aviv arts community of Tel Aviv, active cultural Batsheva’s New and the Tel Aviv Foundation, internationally institutions, community organizations acclaimed Batsheva Dance Company is in the southern metropolis, and Arts Campus in establishing an Arts Campus at the historic neighborhood activists. In addition to Old Central Bus Station in southern Tel Aviv, Batsheva's activity, the campus will Neve Sha’anan, designed by world-renowned architect proudly host the Municipal Center for Tel Aviv Sir David Adjaye OBE. It includes state- Sephardic and Mizrahi Jewish Culture. of-the-art facilities to showcase art and performance in a green public square with Completion: 2022 trees, shade and water elements, offering Lead Design: Sir David Adjaye OBE, a variety of communal spaces to relax, Adjaye Associates engage and interact. Local Architect: Miko Arditty, Goldschmidt Arditty Ben Naim Architects Batsheva will spearhead an international Landscape Design: Lital Szmuk, TeMA, and pluralistic artistic program across all Architecture, Urban Landscape Design disciplines for all audiences, including: dance, theater, music, film and video, visual and digital art, sound art, sculpture, literature, and the various intersections and hybrid arts forms emerging today. Programs are being developed and produced in collaboration with the vibrant Left: Maayan Sheinfeld, from from Left: Sheinfeld, Maayan Right: Nicolas Ventura from from Ventura Right: Nicolas Decadance Sadeh21 by Ohad Naharin. Photo: Maxim Waratt. Photo: Naharin. Ohad by by Ohad Naharin. Photo: Ari Rossner Photo: Naharin. Ohad by The “I believe that the nature of our work, • Provided unlimited and “One of my most memorable moments Gaga, connects us as individuals fully-funded physiotherapy dancing with the Young Ensemble was to our true source as dancers and treatments, including a wide performing at The Joyce in New York Dancers human beings; openness, passion, range of alternative-technique with a piece I love, Naharin’s Virus. To power, fragility, sensitivity and treatments for ongoing bring this work to New York City and In 2018, Batsheva more...I feel lucky to engage in what preventative measures share my passion to move onstage was I love, it fuels me to keep investing unforgettable. Touring together also continued its efforts to brings us closer; we feel like family.” in that endless discovery.” Certified dancers as Gaga teachers improve dancers' wages • - Nicolas Ventura, Dancer in - Maayan Sheinfeld, Company Dancer through the training program and working conditions, Batsheva - the Young Ensemble including their physical and • Supported the annual social welfare and work Maayan Sheinfeld was born in Or Dancers Create platform for the Young Ensemble Nicolas Ventura was born in Guatemala, environment. Our mission Yehuda, Israel in 1992. She graduated and raised in Vancouver, Canada. He is to support our dancers from the Thelma Yellin High School for received his Bachelor of Arts from the Arts. Maayan is the recipient of the Granted employment opportunities not only as performing • the Rambert School of Ballet and 2007-2010 Sharet Fund scholarship and to former dancers within Batsheva's Contemporary Dance. In early 2016, artists, but as independent the recipient of the 2018 Yair Shapira various educational programs Nicolas joined Idan Sharabi & Dancers creators and teachers. award. Maayan joined Batsheva - the )Israel(. He joined Batsheva - the Young Young Ensemble in 2010 and Batsheva Ensemble in 2017. Dance Company in 2012. Batsheva’s dancers rehearse up to six days “The Young Ensemble dancers are Batsheva per week, 7.5 hours per day, in addition Batsheva - the strong, unrestrained and full of life." to intensive local and international - Wendy Perron on Naharin's Virus, Dancers tour schedules and Gaga teaching Young Ensemble Dance Magazine, July 2018 commitments. Dancers 2018-2019 Season Etay Axelrod Billy Barry Yael Ben Ezer Chen Agron Gil Amishai Cesar Brodermann Ariel Gelbart Israel USA Israel Israel Israel Mexico Israel Matan Cohen Ben Green Chiaki Horita ChunWoong Kim Londiwe Khoza Béatrice Larrivée Shir Levy Federico Longo Israel USA Japan Korea South Africa Canada Israel Italy Rani Lebzelter Hugo Marmelada Eri Nakamura Yoni Simon Ohad Mazor Robin Lesley Nimanong Tom Nissim Igor Ptashenchuk Israel Portugal Japan Israel Israel Netherlands Israel Israel Hani Sirkis Amalia Smith Nitzan Ressler Kyle Sheurich Dori Roee Portraits by: Ascaf, Tamar Rosenzweig Lihi Shochatovitch Nicolas Ventura Shaked Werner Israel Canada Israel USA Israel Israel Canada Israel Maayan Sheinfeld Imre van Opstal Erez Zohar Adi Zlatin Sean Howe • Reches Itzhaki • Avigail Shafrir • Alma Karvat Shemesh • Israel Netherlands Israel Israel Apprentice USA Apprentice Israel Apprentice Israel Apprentice Israel 2018 Tour Highlights International • A month-long summer tour of “The world of Western choreography • An unprecedented tour of both Naharin’s Virus, performed by is based on two main pillars: Anne Tours companies in honor of the 2018 Batsheva - the Young Ensemble Teresa De Keersmaeker in Brussels In 2018, both companies performed in Israeli - French cultural season to The Joyce Theater, NYC, and and Ohad Naharin in Tel Aviv.” world-famous theaters and festivals presented 36 performances of Jacob’s Pillow Dance Festival. - Jean-Paul Montanari, the and received praise from audiences and six Naharin works: Venezuela, Montpellier Dance Festival critics alike. Last Work, Mamootot, Sadeh21, • A Company tour to Lisbon and Decadance, and Deca’le. Twenty- Moscow’s Context Festival three of the performances were with “Venezuela”; 5,800 held at the Théâtre National audience members total. de Chaillot with over 16,000 "Ohad Naharin will leave behind an 75 spectators. During this tour, invaluable choreographic heritage and performances "All Gaga," a day dedicated to • The Company’s tour of Marlene abroad in 2018 Monteiro Freitas’ "Canine a company that has become one of highlighting Naharin's work, the most recognizable in the world." included a public Gaga class, Jaunâtre 3" to the Montpellier - Laureen Mourthe on "Venezuela", conversation with Ohad Naharin, Festival and the Julidans Festival in the online magazine "Bachtrek" and an open rehearsal. An Amsterdam — both co-producers France, October 2018 additional 16,500 tickets were sold of the work. A total of 3,000 58,500 people attended these festivals. approximate for performances of "Last Work" viewers and "Decadance" across France. Photo: Hadar Stav Hadar Photo: 2018. October in Paris, dancers Ensemble and Young Left: Company The senior Right: The Joyce Theater. Photo: Amit Hevrony. Photo: Theater. On Stage in 2018 Batsheva’s audience is comprised of young and old, those from near and far, dance-devotees and Right: 104performances 41performances 75performances newcomers. in Tel Aviv in Israel outside abroad Kamuyot of Tel Aviv Left: Girls & Boys Girls by Ohad Naharin. Photo: Hadar Stav Hadar Photo: Naharin. Ohad by Total by Roy Assaf. Photo: Ascaf Photo: Assaf. Roy by performances 220 31,000viewers in Tel Aviv 15,000viewers in Israel viewers58,500 abroad GIRLS & BOYS KAMUYOT outside of Tel Aviv In 2018 Roy Assaf was invited to create Batsheva’s Outreach Ohad Naharin’s Kamuyot has long been "A sharp
Recommended publications
  • SEE the Berkshire Jewish Voice
    Non-Profit Org. U.S. POSTAGE PAID Pittsfield, MA Berkshire Permit No. 19 JEWISHA publication of the Jewish Federation of the Berkshires, serving V the Berkshires and surrounding ICE NY, CT and VT Vol. 26, No. 5 Sivan/Tammuz 5778 May 29 to July 1, 2018 jewishberkshires.org A Strong Federation is Key to a Dive Into Summer Strong Jewish Community A particularly rich season of Jewish-themed arts The Berkshires is Home and cultural programming ahead Berkshire snowbirds are notorious culture vultures, and as summer and summer people return, so does the complete array of world class arts programming that is this region’s hallmark. Dive into this issue of the BJV, in which we preview upcoming Jewish-themed arts and educational events – books, films, scholars, theater, music, and dance. Above, dancers with Israel’s Batsheva – The Young Ensemble, which will perform “Naharin’s Virus” from July 4 through July 8 at Jacob’s Pillow Dance Bernie and Elaine Roberts, our Major Donors Celebration co-chairs Festival in Becket. For more on what to expect from Batsheva, please see page 28. PITTSFIELD – The Jewish Federation Inside of the Berkshires will host its annual Extend a Hand of Companionship ...........2 Major Donors Celebration on Sunday, July 15 at 9:30 a.m. at the Country Martin Bookspan on his pal, Rabbi Josh – A Farewell Blessing ...........3 Club of Pittsfield, an event that year Your Federation Presents .....................4-11 after year has demonstrated the tre- “Lenny” mendous impact major donors have on Local News .....................................12-14, 18 building and sustaining Jewish life in A “Behind the Scenes” reminiscence of a Annual Campaign in Full Swing .............15 the region.
    [Show full text]
  • MDLD Programme 18 19.Pdf
    SOMMAIRE M 16 Compagnie Wang Ramirez 40-41 D 9 S 2 Deborah Colker V 29 Le Retour d’Ulysse 84-85 L 27 Patrice Thibaud CALENDRIER M 17 Compagnie Wang Ramirez L 10 D 3 S 30 Le Retour d’Ulysse M 28 Patrice Thibaud PAGES J 18 Compagnie Wang Ramirez M 11 José Montalvo 54-55 L 4 D 31 Le Retour d’Ulysse M 29 FUGUE VR, RÉALITÉ MIXTE 28 V 19 Compagnie Wang Ramirez M 12 José Montalvo M 5 AVRIL J 30 Du 13 au 23 sept. S 20 Compagnie Wang Ramirez J 13 José Montalvo M 6 L 1 V 31 Dans le cadre de la Biennale de la danse 2018 D 21 V 14 José Montalvo J 7 M 2 Le Retour d’Ulysse JUIN SEPTEMBRE L 22 Compagnie Wang Ramirez S 15 José Montalvo V 8 Cía Nacional de Danza 68-69 M 3 Le Retour d’Ulysse S 1 L 10 M 23 Compagnie Wang Ramirez D 16 S 9 Cía Nacional de Danza J 4 Le Retour d’Ulysse D 2 M 11 M 24 L 17 D 10 Cía Nacional de Danza V 5 L 3 M 12 J 25 M 18 Thierry Malandain 56-57 L 11 Cía Nacional de Danza S 6 M 4 Galactik Ensemble 92-93 V 26 M 19 Thierry Malandain M 12 Cía Nacional de Danza D 7 M 5 Galactik Ensemble J 13 S 27 Cabaret Citoyen 8 J 20 Thierry Malandain M 13 Cía Nacional de Danza L 8 CCN - Ballet de Lorraine 86-87 J 6 Galactik Ensemble V 14 Mourad Merzouki D 28 Cabaret Citoyen V 21 Thierry Malandain J 14 M 9 CCN - Ballet de Lorraine V 7 Galactik Ensemble Mourad Merzouki L 29 S 22 Thierry Malandain V 15 M 10 S 8 S 15 Journées européennes du patrimoine M 30 D 23 S 16 J 11 D 9 Défilé pour la paix M 31 L 24 D 17 V 12 L 10 D 16 Journées européennes du patrimoine NOVEMBRE M 25 L 18 S 13 M 11 Compagnie Arcosm 94-95 L 17 J 1 M 26 M 19 D 14 M 12 Compagnie
    [Show full text]
  • Class of 1968 50Th Reunion
    CLASS OF 1968 50TH REUNION BENNINGTON COLLEGE Class of 1968 Alix Abrons Steven Bush Laura Furman Sandra Adams Leontina Calabro* Ann Garvin Sharon Zync Alper Sharon Cameron Judith Gerson Barbara Lazear Ascher Beth P. Cavanaugh Peggy Kohn Glass Marjorie E. Baron* Cheryl Hauselmann Cherney Martha Armstrong Gray Jane B. Becker Diane Clemmons* Jennifer Wherry Griffin Andrea Behr* Karen Manulis Cohen Ana Nancy Waybur Hale Harriet Beinfield Molly Coye Rhoda Holtzman Halperin* Leslie V. Berg Cornelia Carlton Crocker Daryl Hartshorne Karen Michaels Berg* Kathleen Driscoll Emily Stonington Hibbard Harriet E. Bing Anna Renfield Dubow Erica Fratkin Hiersteiner Marjorie McRae Black Patricia Woodbridge Dunn John K. Hoffman Susan Jehle Johnson Blake Andrea Dworkin* Maria E. Huffman Julia Agee Bollinger* Re’u ben James Christman Edinger Liz Dicker Ingersoll Pamela Bostelmann Carolyn Minick Emanuel Susan Hannon Italia Barbara Kaufman Bouldin Elizabeth Enlund Marsha Kadesch* Tommie Ann Braun Bower Karron C. Esmonde Wendy Summit Kaiser Ann S. Bradburd Susan Evers Ernest T. Kirby* Debbie Brown Lisa Faithorn Lydia Allen Kitfield Ellen Shaw Clark Brown Nancy Finnegan Farnham Reiko Sunami Kopelson Gillian Cockburn Burch Barbara Fisher Cathie Korey Penelope Priest Burkitt Cheryl Sorli Fouche Claudia E. Lapp Patricia Burrows Alana Martin Frumkes Leslie Sliker LaRocca 3 CLASS OF 1968 Carol Levin Alexa Davis Parker Lynn Jones Stinnette Paula Ann Levine Barbara Pepe Gale Thompson Synnott Doris Levine* Phoebe Pettingell Marie McKenney Tavernini Lynne Lewis Ruth Ann
    [Show full text]
  • Batsheva - the Young Ensemble Brings Inimitable Gaga Movement to Jacob’S Pillow Dance Festival, July 4–8
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK ​ FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations and Publications Coordinator 413.243.9919 x132 [email protected] BATSHEVA - THE YOUNG ENSEMBLE BRINGS INIMITABLE GAGA MOVEMENT TO JACOB’S PILLOW DANCE FESTIVAL, JULY 4–8 June 27, 2018 (Becket, MA) Batsheva - The Young Ensemble performs the Bessie Award-winning ​ ​ Naharin’s Virus in the Ted Shawn Theatre at Jacob’s Pillow Dance Festival, July 4–8. The work ​ showcases the “superhumanly spry” (The New York Times) abilities of the Israel-based contemporary ​ ​ dance company, a second branch of Batsheva Dance Company. Batsheva and The Young Ensemble have gained international recognition for their use of the innovative movement research Gaga, developed by Artistic Director Ohad Naharin. With Gaga as their primary tool, The Young Ensemble lets go of the constraints of their technical training and unleashes the “free, exhilarating range of their ​ movement” (The Guardian). ​ ​ “It is an absolute honor to welcome Ohad Naharin and Batsheva’s Young Ensemble to the Pillow for an immersive week, particularly in Ohad’s final months as Artistic Director. We invite audiences to see a performance, observe dancers in The School at Jacob’s Pillow, and attend a PillowTalk with Ohad, to engage with the movement research of Gaga from the source. It’s really a once in a lifetime opportunity,” says Jacob’s Pillow Director Pamela Tatge. The Young Ensemble’s performances coincide with the two-week Professional Advancement program, Gaga: The Movement Language of Ohad Naharin, offered by The School at Jacob’s Pillow.
    [Show full text]
  • "Who's Right? Whose Rite? American, German Or Israeli Views of Dance" by Judith Brin Ingber
    Title in Hebrew: "Nikuudot mabat amerikiyot, germaniyot ve-yisraliot al ma<h>ol: masa aishi be'ekvot ha-hetpat<h>ot ha-ma<h>olha-moderni ve-haammami be-yisrael" m --- eds. Henia Rottenbergand Dina Roginsky, Dance Discourse in Israel, published by Resling, Tel Aviv, Israel in200J "Who's Right? Whose Rite? American, German or Israeli Views of Dance" By Judith Brin Ingber The crux of dance writing, history, criticism, research, teaching and performance of course is the dance itself. Unwittingly I became involved in all of these many facetsof dance when I came from the US forfive months and stayed in Israel forfive years (1972-77). None of these facetswere clear cut and the diamond I thought I treasured and knew how to look at and teach had far more complexity, influences with boundaries blending differently than I had thought. Besides, what I had been taught as to how modem dance developed or what were differencesbetween types of dance had different bearings in this new country. My essay will synthesize dance informationand personal experiences including comments on Jewish identity while reporting on the ascension of modem dance and folkdance in Israel. It was only later as I began researching and writing about theatre dance and its development in Israel, that I came to realize as important were the living dance traditions in Jewish eydot (communities) and the relatively recent history of the creation of new Israeli folkdances. I came to see dance styles and personalities interacting in a much more profoundand influential way than I had ever expected. I was a studio trained ballet dancer, my teachers Ballets Russes alums Anna Adrianova and Lorand Andahazy; added to that, I studied modem dance at SarahLawrence College in New York.
    [Show full text]
  • A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance
    Where are the female choreographers? A study on the gender imbalance among professional choreographers working in the fields of classical ballet and contemporary dance. Jessica Teague August 2016 This Dissertation is submitted to City University as part of the requirements for the award of MA Culture, Policy and Management 1 Abstract The dissertation investigates the lack of women working as professional choreographers in both the UK and the wider international dance sector. Although dance as an art form within western cultures is often perceived as ‘the art of women,’ it is predominately men who are conceptualising the works and choreographing the movement. This study focuses on understanding the phenomenon that leads female choreographers to be less likely to produce works for leading dance companies and venues than their male counterparts. The research investigates the current scope of the gender imbalance in the professional choreographic field, the reasons for the imbalance and provides theories as to why the imbalance is more pronounced in the classical ballet sector compared to the contemporary dance field. The research draws together experiences and statistical evidence from two significant branches of the artistic process; the choreographers involved in creating dance and the Gatekeepers and organisations that commission them. Key issues surrounding the problem are identified and assessed through qualitative data drawn from interviews with nine professional female choreographers. A statistical analysis of the repertoire choices of 32 leading international dance companies quantifies and compares the severity of the gender imbalance at the highest professional level. The data indicates that the scope of the phenomenon affects not only the UK but also the majority of the Western world.
    [Show full text]
  • Batsheva De Rothschild: Using Big Money for Modern Dance
    Batsheva de Rothschild - Using Big Money for Modern Dance Giora Manor Hebrew name (Batsheva in the original Hebrew version( was the During the last year of his life Giora Manor worked on a name of one of King David’s wives. She became his wife after book about people who did not dance themselves but he observed her bathing naked one day on a roof close to his influenced dance in the 20th century. We were close palace. Her unfortunate husband was the general Uriah, one of friends. He was my dance critic during my dancing days the commanders of King David’s army. Coveting his young wife, and later my colleague in founding and editing the dance King David sent Uriah to war, so that the officer would be killed in magazine "Dance in Israel". Before his death he talked to battle and the king could than marry his beautiful young widow. me enthusiastically about his forthcoming book. He died Undoubtedly not a very nice story. before he could finish the book. I am happy to publish the chapter about Batsheva de Rothschild. The chapter is Bethsabee grew up and want to study biology at the Sorbonne. published as it was written. Ruth Eshel She obtained a degree, but her heart belonged to the visual arts, especially to artistic dance. Hitler’s conquest of France in 1940 made necessary the Rothschilds’ last-minute flight and brought he Rothschilds are an old and venerable Jewish family of Batsheva to New York. There she enrolled as a private student at Tbankers who began building their empire from their home the studio of Martha Graham in the early 1940s.
    [Show full text]
  • 18 Merge # 18 M E R
    Merge Merge #18 2006 ISSN 1402-6570 EAN 977140265760412 Shelve until SOLD OUT. Merge SEK 70 GBP £5 Eur ¤8 US $9 #18 SEK 98 GBP Shelve until SOLD OUT. EAN 977140265760412 £7 Merge #18 2007 ISSN 1402-6570 Eur ¤ 9 US $10 # 18 In the great DIY tradition, this is where you pick up your scissors to create your own CD cover. !#ASDFQWQWQWWEQEQERIUOIHMNB Merge 18 9 TRACK CD CD CONTENT 1 Tape Sand Dunes www.hapna.com 2 Existensminimum From me to you www.novoton.com 3 alva noto haliod xerrox copy 111 (iner) www.carstennicolai.de 4 Bichi Layers of generation without number. www.hobbyind.com 5 Sci-Fi SKANE Hyresgesten www.scifiskane.com 6 Jean-Louis Huhta www.slottet.eu 7 Johan Skugge Drop Lfo www.mitek-web.net 8 A.Karperyd Just like you remember it www.karperyd.com 9 Leif Elggren Hiv www.fireworkeditionrecords.com TRACK 3: From the forthcoming release alva noto - xerrox vol. 1 (r-n 78 © 2007 by raster-noton) TRACK 6: In August 2004 I was playing with the Per Jonsson Dance Company in Copenhagen, performing his last choreograhy “Rivers of Mercury”. I stayed in an apartment in Christiania, and in my free time I would go and skate the Wonderland bowl that was there. One day I saw a poster on the wall. It said “Face down in shit – sludge music from U.S.A”, there were medical drawings of severed arms and legs, I had to check this out. Went there and they fuckin tore shit up!!! This piece was recorded the next day, after that gig.
    [Show full text]
  • Cultural Diplomacy and Dance: Israel's Batsheva Dance Company
    Cultural Diplomacy and Dance: Israel’s Batsheva Dance Company by Allison Badar Submitted in partial fulfillment of the requirements for Departmental Honors in the School for Classical & Contemporary Dance Texas Christian University Fort Worth, Texas 2 May 2016 ii Cultural Diplomacy and Dance: Israel’s Batsheva Dance Company Project Approved: Supervising Professor: Jessica Zeller, M.F.A., Ph.D. School for Classical & Contemporary Dance James M. Scott, Ph.D. Department of Political Science Susan Douglas Roberts, M.F.A. School for Classical & Contemporary Dance iii ABSTRACT Since Israel became an independent state in 1948, the country needed to foster a cultural identity and establish a greater scope of allies with countries outside of the Middle East. Using the United States as a model for dance as cultural diplomacy, the Israeli government has sponsored dance companies to travel abroad to foster more positive international relations. Dance provides an abstract but powerful force in disseminating cultural ideals to the rest of the world, so Israel identified and supported the Batsheva Dance Company on many international tours. However, the Batsheva dance company denies that any of its work carries political attributes. Using an embodied, multi-modal research approach, I explore whether or not the Batsheva Dance Company’s dancing, Gaga Movement Language, can carry cultural and political influence. Dance is a cultural phenomenon, and thus the findings of this research point to the inherent politics and culture of movement within a dance style. Because of this Batsheva and Gaga Movement Language is not immune to the politics of the country, and is therefore a powerful force in both creating relationships abroad and disseminating true Israeli culture.
    [Show full text]
  • Embodied Philosophy in Dance
    EMBODIED PHILOSOPHY IN DANCE GAGA AND OHAD NAHARIN’S MOVEMENT RESEARCH Einav Katan Performance Philosophy Series Editors Laura Cull Ó Maoilearca Department of Dance, Film and Theatre University of Surrey Guildford , United Kingdom Alice Lagaay Zeppelin University Friedrichshafen , Germany Freddie Rokem Faculty of the Arts Tel Aviv University Tel Aviv , Israel Will Daddario Independent Scholar Asheville , North Carolina , USA Performance Philosophy is an emerging interdisciplinary fi eld of thought, creative practice and scholarship. The newly founded Performance Philosophy book series comprises monographs and essay collections addressing the relationship between performance and philosophy within a broad range of philosophical traditions and performance practices, including drama, theatre, performance arts, dance, art and music. It also includes studies of the performative aspects of life and, indeed, philosophy itself. As such, the series addresses the philosophy of performance as well as performance-as-philosophy and philosophy-as-performance. Series Advisory Board: Emmanuel Alloa, Assistant Professor in Philosophy, University of St. Gallen, Switzerland; Lydia Goehr, Professor of Philosophy, Columbia University, USA; James R. Hamilton, Professor of Philosophy, Kansas State University, USA; Bojana Kunst, Professor of Choreography and Performance, Institute for Applied Theatre Studies, Justus- Liebig University Giessen, Germany; Nikolaus Müller-Schöll, Professor of Theatre Studies, Goethe University, Frankfurt am Main, Germany; Martin
    [Show full text]
  • Bat-Dor - Technical Stand}~Rds
    BAT-DOR - TECHNICAL STAND}~RDS By Dora Sowden When the State of Israel celebrates its 40th anniversary, was launched in 1968, with Ordman as principal dancer the Bat-Dor Dance Company will mark its 20th -- not and artistic dire.~tor, in addition to her directing the an unusual milestone among the professional Israeli studios. She has held all these positions ever since. companies but with a history very much its own. Uniqueness is also not unusual among dance companies Right from the beginning the style of the company was in Israel. So Bat-Dor also has its distinctive based on a blen.d of classical and modern techniques. individuality. This was an innovation at the time but is now common in many companies that have found the inixed, In 1958, Baroness Bethsabee (Batsheva) de Rothschild comprehensive training beneficial to the dancers. In had settled in Israel, and by 1964 she had founded the fact, it is generally accepted now. Batsheva Dance Company. In New York she had formed a strong friendship with Martha Graham and Ordman, herself classically trained, went abroad to her interest was decidedly in modern dance. She began acquaint herself with modern techniques and acquire thinking of the need for a school as well, and looked their skills. Teac:hers called her a "quick study" and about for a suitable director. Her choice fell on marvelled at it. The style of the company is ]eannette Ordman. contemporary, as the name Bat-Dor implies, but to this day, the women in the Bat-Dor company can appear in מ Born in South Africa, Ordman had been following a toe shoes when rlecessary -- as in Hans van Manen's I dance career in London.
    [Show full text]
  • Batsheva Dance Company Venezuela by Ohad Naharin
    Batsheva Dance company venezuela BY ohaD naharin 32 ticket services 919.843.3333 Batsheva Dance company ATSHEVA’S OHAD NAHARIN is known worldwide for his adventurous B vision and distinctive choreographic venezuela voice. A dance pioneer of his generation, Naharin has led Batsheva for 28 years, where it has become BY one of the world’s preeminent dance companies ohaD naharin under his direction. Based in Tel Aviv, the eighteen dancers of Batsheva’s senior company are cast globally and trained by Naharin in the original movement language he has coined “Gaga.” Based on research into heightening sensation and imagination, becoming aware of form, finding new movement habits, and going beyond familiar limits, Gaga has emerged as a growing international force in the larger field of movement practices for both dancers and non-dancers. In this new work, the signature visceral physicality of Batsheva’s dancers is on full display. Described as a “fascinating and multifaceted piece that contains a surprise that remains with the viewer long after leaving the theater,” Venezuela explores the dialogue and conflict between movement and the content it represents. Naharin created Venezuela in two 40-minute sections placed in juxtaposition—taking the audience on a journey that moves from the familiar to the TUESDAY, APRIL 2, 7:30 PM unfamiliar in a seamless transition of movement. BEASLEY-CURTIS AUDITORIUM, In this multi-faceted and compelling work, the MEMORIAL HALL endless possibilities of the choreographer’s craft are at play. In turn, Venezuela compels the audience to challenge their own freedom of choice. PERFORMANCE BENEFACTORS Patricia and Thruston Morton BATSHEVA DANCE COMPANY has been critically acclaimed and popularly embraced as one of the CAMPUS PARTNER foremost contemporary dance companies in the UNC Global world.
    [Show full text]