* * * * *
Which is just as well, because on three occasions during Hora, the dancers were forced to do exactly that, while some individuals attempting to bring the Israeli/Palestine conflict into the world of dance, were ejected from the building.
Remarkably, each time, these hugely talented performers were able to continue where they left off. But the ability to dance under stressful circumstances is far from Batsheva’s only strength. Despite being very much a group of individuals, with different physiques and styles, when they come together for moments of unison, it’s as though they’re all moving with one body.
Sometimes quirky, always fascinating, Ohad Naharin’s choreography quickly teaches us to expect the unexpected. It’s impossible to guess where he’s going next, only that it will be an interesting place to visit. Born out of Naharin’s own unique movement style, Gaga, the superb technical ability of the dancers make every step, simple or complex, a joy to watch.
But good luck finding a literal meaning in Hora, let alone a political one, because each section will mean something different to each person watching it, just as Naharin intended.