“It’s not just about the audience watching us but it’s also about us in a sense watching them,” says choreographer Yael Flexer about her work.
During our interview, Noa reflected on the development of her movement vocabulary, the evolution of her repertory, her choreographic process, and the relationship of her work to her upbringing on a kibbutz and to the larger Israeli society.
Sheetal Gandhi watched attentively as three pairs of her students transformed the material she had taught into duets. The dancers chatted with each other in Hebrew, occasionally asking their teacher questions in English. Yet there were other unfamiliar sounds peppering their speech: bols, syllables from an Indian drum and dance language.
Whether she is performing a solo she choreographed, improvising with the Oktet, or teaching a contemporary dance class, Shlomit Fundaminsky is someone to watch.
Naharin, the artistic director of the Batsheva Dance Company, has left an indelible impact not only on the troupe he leads but on the larger Israeli dance scene. Yet as his selection for the Scripps award suggests, Naharin’s influence is also felt beyond Israel’s borders.