Home » 2012 » October

  • Batsheva Dance Company – Virus

    Batsheva Dance Company – Virus

    Theatrical, dramatic, emotional, and unquestionably distinct, Virus is like nothing you’ll ever experienced. Presented by the Batsheva Dance Company from Tel Aviv it’s a riveting performance that is sometimes cautious and quiet, sometimes frenetic, but never, ever boring. How is Virus to be interpreted? It’s anyone’s guess. After all, Naharin’s intent is to be unclear, to have us wonder and to question. Bold choreography, bold movement “transmitted”, as in Virus, from Naharin himself to each of his dancers. I hope […]

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  • Batsheva Dance Company – Decadance

    Batsheva Dance Company – Decadance

    A little of this, a little of that. An accumulation of evolving and miscellaneous pieces. That is Deca. In the first part of this clip the lighting creates interesting patterns of shadow, enhanced by the dancers’ white shirts and black pants. Sometimes a little silly, sometimes crazy and wild, but movements that are always controlled…even in the “fight” that ensues at 1’ 27”. Naharin pulls from all emotions. In fact, interestingly enough, there are no mirrors in his studios. He […]

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  • Batsheva Dance Company – Three by Ohad Naharin

    Batsheva Dance Company – Three by Ohad Naharin

    Three is a collection of three dances, Humus, Bellus, and Secus…without story line or connection to one another. In this clip we see eloquence, complexity and control. The dancers clearly own their movement. The music is background as this male duet dances “over” it, creating music of its own. Through beautiful masculine movement, these two dancers relate to one another with obvious sensitivity. While creative and innovative as choreography, the audience is asked to explore its own imagination as well. […]

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  • Batsheva Dance Company – Max by Ohad Naharin

    Batsheva Dance Company – Max by Ohad Naharin

    This clip opens to the chanting drone of a voice-like sound that would lull you into a trance were it not for the intensity and variety of the dancers’ upper body movements that accompanies it. But despite the sometimes almost frenetic nature of this sequence, the dancers are virtually without emotion…except for a faint smile at the end. Parts of this video have a very tribal feel to them; others more alien. But certainly as a whole it is abstract. […]

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  • Batsheva Dance Company – Seder

    Batsheva Dance Company – Seder

    Neither graceful or delicate, Ohad Naharin’s Seder seems almost to make a mockery of choreography that’s more predictable and of a more aesthetic nature. Or perhaps you can say Seder is aesthetic in its own right, in its uniqueness and in its ability to mesmerize the audience. Seder in Hebrew means “order.” But without understanding more about Naharin’s movement language, Gaga, I’m unclear as to what aspects of this choreography “order” refers to. Of course, this is only a very […]

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  • Three To Max – Ohad Naharin And Hubbard Street Dance Chicago

    Three To Max – Ohad Naharin And Hubbard Street Dance Chicago

    The duet at the beginning takes on an almost experimental look…and one of automatons reacting to one another. You have to love the hypnotic stomping of the ensemble’s feet on the stage floor with the way it contrasts with the lightness and delicacy of the music. The change of pace at the end of the video was unexpected, almost jolting; but, of course, this is only an excerpt. As a student of Martha Graham, you can see in Naharin’s choreography […]

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  • Mia Diaz – My Confession (Fragile)

    Mia Diaz – My Confession (Fragile)

    Watch Mia Diaz perform My Confession (Fragile) in the American Dance Awards Nationals in Boston. Mia took 1st place overall in the 12 and under age group. Mia obviously has lots of talent, but the choreography left much to be desired. There were lots of gymnastics which made the piece somewhat more dramatic but left it short of over-all quality. I would like to have seen a little less emotional intensity in someone so young. She tried to express emotion […]

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  • Memory In Water

    Memory In Water

    This piece is as fragile in movement as it is subtly powerful in emotion. The way the dancer interprets the music is as if she’s breathing the music herself…straight from her soul. Her costume and the lighting beautifully reflect the mood of the choreography. Soft, lovely, and intensely delicate. And with sometimes slightly turned in and flexed feet we are further drawn into the emotion of the dancer’s story. The dancer’s reserved little walk with outstretched arm at 4’28” into […]

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  • Maybe For Flying

    Maybe For Flying

    Theatrical and dramatic… The dancer all but convulses with emotion. Grief? Pain? Agony? Devastation? Whatever the emotions, they are emotions of great intensity. Her angst is palpable. Though the choreography isn’t very difficult, Wu has lovely technique and maintains perfect control of each movement. And her flexed feet make the choreography even more powerful and the darkness of her emotions even more believable. Nothing is held back when she expresses herself. She would have made Martha Graham proud. Wu Zhenyz, […]

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  • Merce Cunningham Dance Company – Second Hand

    Merce Cunningham Dance Company – Second Hand

    Second Hand, Merce Cunningham, choreographer; John Cage, composer, “Cheap Imitation” At the beginning of this excerpt from Second Hand, Robert Swinston and Andrea Weber show us a gentle, comfortable, yet intimate relationship. In the next part of the excerpt Swinston is left alone on stage, only to be joined by nine other dancers. Cage makes it known that Swinston, dancing as Cunningham himself, was playing Socrates in the last few hours of his death. A subdued, controlled work… A work of […]

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