The Borders of Contemporary Israeli Dance: “Invisible Unless in Final Pain”

Abstract

When Vertigo, an Israeli dance company, performed in collaboration with the English Ricochet dancers, there was one dance on the stage—one choreography—but the audience saw two different modes of movement. The English dancers were learned, elegant, arms and feet drawing long lines in space, the feet articulate. The Israelis danced with a powerful thrust, extremities loose, with total commitment and daring, their movements leaving in space traces of explosions too fast to recollect rather than spirals of continuity. How did this mode of movement develop? What is “Israeli” about Israeli dance?In this essay I offer a brief history of concert dance in Israel, then a largely descriptive account of choreographic and motional themes that distinguish contemporary Israeli dance. My descriptions of works by contemporary Israeli choreographers Jasmine Goder, Ronit Ziv, Anat Danielli, Shlomi Bitton, and Noa Dar are drawn mostly from observation of performances held during yearly Curtain Up festivals at the Suzanne Dellal Center for Dance and Theater in Tel Aviv. I also discuss works by Inbal Pinto, Rami Be'er, Nir Ben-Gal and Liât Dror, and finally, Ohad Naharin, artistic director and choreographer of the Batsheva Dance Company.