Lessons in Israeli dance

Published on January 5, 2008

Israeli dance

Held immediately after its theatre counterpart, last month's "International Exposure to Israeli Dance" offered journalists, choreographers, artistic directors and festival directors from around the world - among them Patravadi Mejudhon and The Nation's reviewer - a five-day feast of movement.

The opening act in this Suzanne Dellal Centre initiative was Batsheva Dance Company's newest work, "Max", and it was a fitting curtain raiser. The 10-member ensemble filled every inch of the Suzanne Dellal Hall with raw energy as they moved in an eclectic exploration of space and speed on the bare stage. While powerful as a group, each technically advanced and meticulously trained dancers was mesmerising to watch as, one after another they broke away to perform a series of individual moves.

The roof-raising applause at the end was a reminder of why Batsheva's international touring schedule is stacked with engagements at prominent venues all year round.

Later that evening, at Yaron Yerushalmi Hall we were treated to a much slower pace in Tama Borer's "Hado: A Walk in Magnetic Fields", where three dancers responded with highly calculated movements to an otherworldly soundscape performed live by two musicians. Halfway through the 50-minute performance of largely repetitive moves that included pouring water into bowls of dry ice, some restless audience members left.

The following afternoon found us at the Centre's Studio Suzi where black curtains and rows of seats had been used to good effect to turn this rehearsal studio into an informal performance venue. House company Inbal Pinto presented excerpts, both live and on screen, from "Hydra", their most recent intercultural collaboration, premiered in Saitama, Japan less than a month earlier. Although we didn't witness much from the dancers in this less-than-full-scale presentation, the video showed some nifty moves and a wonderful sense of humour.

Then, three dancers from Nor Dar Dance Group and a guitarist entered the space to perform "Arnica", 18 short yet vibrant solos showcasing various levels of physical dexterity.

Later, back at the first hall, the audience was presented with a double bill created by the "Curtains Up" project, founded by the dance department of the Ministry of Education, Culture and Sport and the Suzanne Dellal Centre to support up and coming independent choreographers. Although Odelya Kuperberg's dance theatre "From Three 2 One" was only 18 minutes in length, the contemporary messages on urban people's lack of true communication and the contrasts between private and public spaces stayed in the audience's mind long after the curtain fell.

In "Solar Plexus", Marya Levy's discourse on compassion versus subjugation, one female dancer in the exhilarating ensemble was a "small person". While Levy's deft choreography and smart staging made discreet artistic use of this physical aspect, there was no suggestion of a freak show in this performance about four adults trying their best to open their hearts.

Although Patravadi's and this reviewer's experience of contemporary Israeli dance was brief, we were both impressed by the profusion of creativity as well as the availability of well-equipped dance spaces to train new artists and develop new works.

Early next month, the Embassy of Israel in Bangkok plans to bring young Israeli choreographer Arkadi Zaides here to work with Thai dancers as part of the International Dance Week organised by the Dance Centre.

The writer can be contacted at Pawit.M@chula.ac.th. His trip was made possible by the Israeli Embassy in Bangkok.

 Pawit Mahasarinand

 The Nation