Monday, December 13, 2010
Ohad Naharin Biography
Ohad Naharin has been hailed as one of the world’s preeminent contemporary choreographers. As Artistic Director of Batsheva Dance Company since 1990, he has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography. Naharin is also the originator of an innovative movement language, Gaga, which has enriched his extraordinary movement invention, revolutionized the company’s training, and emerged as a growing force in the larger field of movement practices for both dancers and non-dancers.
Born in 1952 on Kibbutz Mizra, Ohad Naharin began his dance training with the Batsheva Dance Company in 1974. During his first year with the company, visiting choreographer Martha Graham singled out Naharin for his talent and invited him to join her own company in New York. While in New York, Naharin studied on scholarship at the School of American Ballet, furthered his training at The Juilliard School, and polished his technique with master teachers Maggie Black and David Howard. He went on to perform internationally with Israel’s Bat-Dor Dance Company and Maurice Béjart’s Ballet du XXe Siècle in Brussels.
Naharin returned to New York in 1980, making his choreographic debut at the Kazuko Hirabayshi studio. That year, he formed the Ohad Naharin Dance Company with his wife, Mari Kajiwara, who died of cancer in 2001. From 1980 until 1990, Naharin’s company performed in New York and abroad to great critical acclaim. As his choreographic voice developed, he received commissions from world-renowned companies including Batsheva, Kibbutz Contemporary Dance Company, and Nederlands Dans Theater.
Naharin was appointed Artistic Director of Batsheva Dance Company in 1990 and has served in this role except for the 2003-2004 season, when he held the title of House Choreographer. During his tenure with the company, Naharin has choreographed over 20 works for Batsheva and its junior division, Batsheva Ensemble. He has also restaged over 10 of his dances for the company and recombined excerpts from his repertory to create Deca Dance, a constantly evolving evening-length work.
Naharin trained in music throughout his youth, and he has often used his musical prowess to amplify his choreographic impact. He has collaborated with several notable musical artists to create scores for his dances, including Israeli rock group The Tractor’s Revenge (for Kyr, 1990), Avi Belleli and Dan Makov (for Anaphaza, 1993), and Ivri Lider (for Z/na, 1995). Under the pseudonym Maxim Waratt, Naharin composed music for MAX (2007) and edited and mixed the soundtracks for Mamootot (2003) and Hora (2009). Naharin also combined his talents for music and dance in Playback (2004), a solo evening which he directed and performed.
In addition to his work for the stage, Naharin has pioneered Gaga, an innovative movement language. Gaga, which emphasizes the exploration of sensation and availability for movement, is now the primary training method for Batsheva’s dancers. Gaga has also attracted a wide following among dancers around the world and appealed to the general public in Israel, where open classes are offered regularly in Tel Aviv and other locations.
Naharin’s compelling choreographic craft and inventive, supremely textured movement vocabulary have made him a favorite guest artist in dance companies around the world. His works have been performed by prominent companies including Nederlands Dans Theater, Ballet Frankfurt, Lyon Opera Ballet, Compañía Nacional de Danza (Spain), Cullberg Ballet (Sweden), the Finnish National Ballet, the Paris Opera Ballet, Balé da Cidade de São Paulo, Cedar Lake Contemporary Ballet (New York), Hubbard Street Dance Chicago, and Les Grand Ballets Canadiens de Montréal. Naharin’s rehearsal process with Cedar Lake Contemporary Ballet during a restaging of Deca Dance was the subject of Tomer Heymann’s documentary Out of Focus (2007).
Naharin’s rich contributions to the field of dance have garnered him many awards and honors. In Israel, he has received a Doctor of Philosophy honoris causa by the Weizmann Institute of Science (2004), the prestigious Israel Prize for dance (2005), a Jewish Culture Achievement Award by The Foundation for Jewish Culture (2008), a Doctor of Philosophy honoris causa by the Hebrew University (2008), and the EMET Prize in the category of Arts and Culture (2009). Naharin has also been the recipient of the Chevalier de l'Ordre des Arts et des Lettres from the French government (1998), two New York Dance and Performance (Bessie) Awards (for Naharin's Virus at the Brooklyn Academy of Music in 2002 and for Anaphaza at the Lincoln Center Festival in 2003), the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement (2009), and a Dance Magazine Award (2009).
http://www.batsheva.co.il/en/Ohad.aspx
Sunday, December 12, 2010
Ohad Naharin "Max" Review
Conjuring Up a World Where Images Abound
“Max,” a new production by Ohad Naharin, opens in silence on a darkened stage as 10 dancers, five men and five women, are poised with their backs to the audience. The men stand; the women bend in deep pliés, tip over — by dropping a knee to the floor — and turn in profile, their heads bowed as if in prayer. In this tremendously potent work, there are few obvious displays of emotion, yet “Max” is full of imagery that slips between real life and dance in fleeting flashes.
Performed by the Batsheva Dance Company at the Brooklyn Academy of Music on Wednesday night, “Max” produces a formal structure full of breath, as if the air around the dancers and not just the movement, is responsible for shifting the dynamic from mischievous to ominous. At times it’s balmy; in other moments it’s ice cold. Succinctly and mysteriously, “Max” zeros in, just as its press notes say, on the pleasure and pain of being alive.
Mr. Naharin’s theatrical ingredients are space, movement and light. The costumes, by Rakefet Levy, are free of embellishment — dancers wear simple tanks and high-cut black shorts, which accentuate the push and pull of their skin.
While sound is credited to Moshe Shasho, the work’s composer is Maxim Waratt, Mr. Naharin’s musical pseudonym.
Throughout the piece, his resonant voice encloses the dancers in a state both trancelike and controlled. His tone is palpable — a droning chant becomes increasingly more feverish — but what may sound like a word in a foreign language or, later in the dance, a recitation of numbers paired with a series of movement accumulations is, in actuality, meaningless. Mr. Naharin’s lyrics are gibberish.
But in many ways, his musical composition is not limited to sound: in “Max,” the body dictates cadence, too, and Mr. Naharin contrasts speed and stillness to devise the work’s pulse. In one repeated image, the dancers are arranged in triangle. It’s a thrilling high-speed sequence, but there is also a soft, yielding approach as they pull their arms into their chests and thrust them out; raise their elbows and jiggle their heads; cross their palms on their chests; and raise their faces to smile. This marks the only time they give in to such an ordinary expression, but their grins are almost maniacal.
The scene is followed by a blackout, a technique used frequently and with rigor throughout “Max.” The lighting designer Avi Yona Bueno casts the stage in hues of greens, pinks and reds, and within this shimmering atmosphere the dancers’ sensual poses are frequently distorted into something else by the nature of Mr. Naharin’s clipped choreographic rhythm.
An arched back or a leg thrust to the side is just a step, nothing more and nothing less. Even though “Max” is stripped of artifice, Mr. Naharin accomplishes a great feat — this is as max as it gets.
Performed by the Batsheva Dance Company at the Brooklyn Academy of Music on Wednesday night, “Max” produces a formal structure full of breath, as if the air around the dancers and not just the movement, is responsible for shifting the dynamic from mischievous to ominous. At times it’s balmy; in other moments it’s ice cold. Succinctly and mysteriously, “Max” zeros in, just as its press notes say, on the pleasure and pain of being alive.
Mr. Naharin’s theatrical ingredients are space, movement and light. The costumes, by Rakefet Levy, are free of embellishment — dancers wear simple tanks and high-cut black shorts, which accentuate the push and pull of their skin.
While sound is credited to Moshe Shasho, the work’s composer is Maxim Waratt, Mr. Naharin’s musical pseudonym.
Throughout the piece, his resonant voice encloses the dancers in a state both trancelike and controlled. His tone is palpable — a droning chant becomes increasingly more feverish — but what may sound like a word in a foreign language or, later in the dance, a recitation of numbers paired with a series of movement accumulations is, in actuality, meaningless. Mr. Naharin’s lyrics are gibberish.
But in many ways, his musical composition is not limited to sound: in “Max,” the body dictates cadence, too, and Mr. Naharin contrasts speed and stillness to devise the work’s pulse. In one repeated image, the dancers are arranged in triangle. It’s a thrilling high-speed sequence, but there is also a soft, yielding approach as they pull their arms into their chests and thrust them out; raise their elbows and jiggle their heads; cross their palms on their chests; and raise their faces to smile. This marks the only time they give in to such an ordinary expression, but their grins are almost maniacal.
The scene is followed by a blackout, a technique used frequently and with rigor throughout “Max.” The lighting designer Avi Yona Bueno casts the stage in hues of greens, pinks and reds, and within this shimmering atmosphere the dancers’ sensual poses are frequently distorted into something else by the nature of Mr. Naharin’s clipped choreographic rhythm.
An arched back or a leg thrust to the side is just a step, nothing more and nothing less. Even though “Max” is stripped of artifice, Mr. Naharin accomplishes a great feat — this is as max as it gets.
Batsheva Dance Company performs “Max” through Saturday at the Brooklyn Academy of Music, Howard Gilman Opera House, 30 Lafayette Avenue, Fort Greene, Brooklyn; (718) 636-4100, bam.org.
http://www.nytimes.com/2009/03/06/arts/dance/06max.html?scp=1&sq=ohad%20naharin%20review&st=cse
Subscribe to:
Posts (Atom)