Batsheva Dance Company, Israel’s leading contemporary dance ensemble, recently captivated audiences at New York City’s Joyce Theater with their compelling performance of “Hora.” This piece, a signature work by Ohad Naharin, Batsheva’s former Artistic Director and current House Choreographer, offers a deep dive into Naharin’s distinctive movement language and the company’s exceptional artistry. This review explores the nuances of “Hora,” examining its choreography, set design, musical score, and the overall experience it delivers, solidifying Batsheva Dance Company’s position as a powerhouse in the global dance scene.
Delving into Ohad Naharin’s “Hora”: More Than Just a Dance
“Hora,” which premiered in 2009 and has seen subtle revisions over the years, initially presents itself as a challenging piece. Its movement vocabulary, characterized by twitchy, slinky, and angular motions, can appear amorphous at first glance. Choreographic bursts emerge and dissipate, seemingly without immediate logic. However, beneath this surface of apparent chaos lies a meticulously crafted exploration of communal experience, far removed from themes of nihilism or despair. “Hora” isn’t designed for simple entertainment; instead, it’s a tightly wound, intriguing work that has rightfully garnered critical acclaim for its unique approach and profound impact.
To understand “Hora,” it’s helpful to consider two key aspects: Ohad Naharin’s Gaga movement language and the significance of the title itself.
Gaga: The DNA of Batsheva’s Movement
While “Hora” might not explicitly showcase Gaga in its purest form, Naharin’s renowned movement language is undeniably woven into its fabric. Gaga, often described as more of a process than a codified technique, encourages dancers to connect deeply with their bodies, explore movement textures, and push physical boundaries. Although specific moments in “Hora” might appear unconventional or even exaggerated, the underlying communication remains fundamentally human. It’s a language of movement that prioritizes raw expression and visceral sensation over predetermined steps.
The Enigma of “Hora”: Beyond the Circle Dance
The title “Hora” itself adds another layer of intrigue. The term “hora” traditionally refers to a circle dance deeply embedded in Jewish culture and the broader Diaspora. Characterized by dancers joining hands in a circle and moving rhythmically, often counter-clockwise, the hora is a staple at celebrations and communal gatherings.
Batsheva Dance Company dancers performing Ohad Naharin’s “Hora,” highlighting the dynamic movement and ensemble work.
However, Batsheva Dance Company’s “Hora” largely deviates from this circular formation. With only brief and subtle allusions to traditional circle dance patterns, Naharin seems to be playing with the concept of “hora” on a more metaphorical level. The word “hora” also has Latin roots, signifying “hour” or a period of time, suggesting a cyclical nature of time. This duality – circle and time – potentially reflects the deeper themes within the piece: a “Circle of Life” or “Circle of Time,” perhaps hinting at recurring patterns of human experience and communal existence. Naharin might be using the title to evoke the essence of “dance” itself, or to explore these cyclical themes through a contemporary lens, moving beyond the literal interpretation of the hora as a folk dance.
A Stage of Light and Sound: Enhancing the “Hora” Experience
Beyond the captivating choreography and the dancers’ exceptional skills, “Hora” is powerfully enhanced by its visual and auditory landscape. The lighting and stage design by Avi Yona Bueno (Bambi) create a striking yet understated environment. The stage perimeter, illuminated in a neon green hue, acts as a dramatic frame, contrasting with the unadorned walls above. This “green oasis” evokes a space that is both menacing and calming, a refuge imbued with a sense of underlying tension. A simple wooden bench, designed by Amir Raveh and spanning the stage width, serves as the sole set piece, acting as a gathering point and a visual anchor for the dancers.
A group of Batsheva Dance Company members in “Hora,” demonstrating the angular and expressive qualities of Gaga movement.
The curated score, assembled by Naharin, further amplifies the atmosphere of “Hora.” It features reimagined classical and modern pieces by Japanese electronic music pioneer Isao Tomita, synthesized to create a haunting and otherworldly soundscape. Familiar melodies, such as Debussy’s “Prelude to the Afternoon of a Faun” and themes from “2001: A Space Odyssey” and “Star Wars,” are rendered vaguely recognizable, contributing to a sense of both familiarity and estrangement. This sonic backdrop seamlessly integrates with the visual elements and choreography, enriching the overall sensory experience of “Hora.”
Choreographic Unpacking: Movement and Meaning in “Hora”
Describing “Hora”‘s choreography is a challenging task due to its abstract nature and non-linear progression. The piece unfolds as a series of vignettes and interactions, rather than a narrative-driven structure.
Batsheva Dance Company dancers showcasing the intricate partnering and dynamic shifts within “Hora.”
The performance often begins with dancers seated on the upstage bench. They gradually move downstage, their arms held in angular positions, exhibiting a sense of detachment or observation. This initial tableau suggests a group contemplating or confronting an external world. Subsequently, dancers break away from the group, engaging in individual or small group sequences characterized by angular, slithery, and twitchy movements. These interactions can appear as explorations of space, tense encounters, or even fleeting moments of connection. Balletic elements, particularly arabesques, punctuate the movement vocabulary, adding a layer of technical virtuosity and moments of reaching or yearning.
Ensemble movement in “Hora,” displaying the dancers’ precision and the piece’s complex spatial patterns.
Despite the seemingly disparate movements, “Hora” is far from random. Patterns and motifs emerge and recur throughout the piece, creating a sense of underlying order within the apparent chaos. Just as the group seems to fragment, it coheses again, suggesting a cyclical dynamic of unity and disunity. This interplay highlights a central theme: the tension between individuality and collectivity, order and chaos, within a communal experience. The dancers continually return to the bench, their “home base,” suggesting a recurring cycle of venturing out, interacting, and retreating.
A Resounding “There” There: The Substantive Core of “Hora”
Ultimately, “Hora” resonates because it possesses a substantive core, even if its meaning remains open to interpretation. It’s not merely a collection of intriguing movements; it conveys a sense of purpose and invites viewers to engage with its complexities. The dancers of Batsheva Dance Company, though presented without individual identification in the program, are undeniably a highly skilled and compelling ensemble. Their proficiency brings Naharin’s challenging choreography to life, making “Hora” a truly captivating and thought-provoking experience.
Another view of Batsheva Dance Company performing “Hora,” emphasizing the dancers’ expressive physicality.
Under the artistic direction of Dr. Lior Avizoor, Batsheva Dance Company continues to solidify its global reputation. Their engagement at the Joyce Theater, with performances of “Hora,” was a testament to their artistic excellence and enduring appeal, leaving audiences with a powerful and lasting impression of contemporary dance at its finest.
A trio of Batsheva Dance Company dancers in “Hora,” showcasing individual expression within the ensemble.
A wider ensemble shot of Batsheva Dance Company in “Hora,” highlighting the spatial dynamics and group formations.
Batsheva Dance Company performing “Hora,” with a focus on the balletic influences and reaching movements.
Close-up of Batsheva Dance Company dancers Chen Agron and Billy Barry, capturing the intensity and physicality of “Hora.”
