OHAD NAHARIN, Artistic Director

Batsheva's artistic integrity and innovation have earned the company its reputation as one of the most inspirational and sought after companies - a true champion on the global map of performing arts.


Batsheva operates throughout the year with its 2 companies and 40 dancers. With 250 annual performances in Israel and around the world, the company is considered Israel's leading cultural ambassador.

Batsheva is applauded worldwide in the most prestigious theaters and festivals; including Lincoln Center, BAM and Jacob's Pillow festivals, London's Barbican Centre, and Paris's Theatre de la Ville.

The company includes dancers from Israel and abroad who are encouraged to affirm their distinct creative gifts either in the rehearsal process or in the creation of their own works during the ongoing Batsheva Dancers' Workshop series.

Many of Batsheva's dancers developed their skills during an extensive training period in the junior company, the Batsheva Ensemble. The Ensemble serves as a greenhouse for the next generation of dancers and choreographers, dedicating the majority of its time to Batsheva's comprehensive outreach and education program.

Batsheva Dance Company was founded in 1964 by Martha Graham and Baroness Batsheva De Rothschild.


©Ilya Melnikov




World premiere: May 25th, 2011, Israel Festival, Jerusalem


Choreography : Ohad Naharin In collaboration with Batsheva dancers
Lighting and Stage Design : Avi Yona Boeno (Bambi)
Soundtrack Design : Maxim Waratt
Costume Design : Ariel Cohen
Video subtitle Design : Raz Friedman

Length : 75 minutes

Piece for 17 dancers

Ordered by Luminato, Toronto Festival of Arts & Creativity and The Israel Festival, Jerusalem. Produced by the Batsheva Dance Company with the support of Michael Sela Fund for Development of Young Artists. 

"Sadeh21" resembles Stabley Kubrick's groundbreaking cinematic "Space Odyssey" - but in dance. Naharin gives us a choreographic voyage with cinematic character, an epic-dance expedition. The cinematic choreography takes s through time travel, however "Sadeh 21" is the voyage of the body. The Naharin Odyssey is an evolution of pleasure. The dance materials are emotional, the music is both paralyzing and captivating, and the women are bursting with sensuality. "Sadeh 21" looks and sounds like a slow motion explosion - radiant, dangerous and exciting.




Choreography :  Ohad Naharin with the dancers of the company

Original music: Maxim Waratt

Lights and sets : Avi Yona Bueno (Bambi)

Costumes : Rakefet Levi

Length : 75 minutes

Piece for 17 dancers

Selected excerpts from works by Ohad Naharin :


       Moshe (1999)

       Zachacha (1998)

       Sabotage Baby (1997)

       Yag (1996)

       Z / na (1995)

       Anaphase (1993)

       Mabul (1992)

       Kyr (1990)

       Black Milk (1985)



First performed in 2000, Decadance is a celebration of then 20 years of Naharin's work with Batsheva Dance Company. Highlighting many facets of his repertoire, Naharin reconstructs his oeuvre by taking sections of existing works and reorganizing them into a new fresh experience. Decadance offers the possibility to look at Naharin's repertoire, from its most extravagant to its most intimate and heartrending. Decadance continues still evolves to this day.



"Decadance is not a new work. It is more about reconstruction: I like to take pieces or sections of existing works and rework it, reorganize it and create the possibility to look at it from a new angle. It always teaches me something new about my work and composition. In Decadance I took sections from different works. It was like I was telling only either the beginning, middle or ending of many stories but when I organized it the result become as coherent as the original if not more."

O. Naharin



Choreography : Ohad Naharin

Costume Design : Rakefet Levy

Lighting Design : Avi Yona Bueno (Bambi)

Sound Design & Editing : Ohad Fishof

Music : Bellus: J.S. Bach, Goldberg Variations, performed by Glenn Gould

Humus: Brian Eno, "Neroli"

Secus: Chari Chari, Kid 606 + Rayon (mix: Stefan Ferry), AGF, Fennesz,

Kaho Naa... Pyar Hai, Seefeel, The Beach Boys

Length : 70 minutes

Piece for 17 dancers



"Three" is made up of three pieces:  "Bellus",  "Humus",  "Secus". In Bellus I enjoy the mathematical logic of Bach's music.  This is the well-known Glen Gould recording of the Goldberg Variations and one of the wonderful things in it is the quiet between the notes.  This quiet is a wonderful place for movement.  When you have quiet between the notes the movement is sharpened and accentuates the compassion of the dancers. Humus is a piece for five women who perform a collection of short segments.  Each time they re-align themselves on stage and begin a new segment.  I was interested by creating an atmosphere which is the opposite of the arbitrariness which I just described.  An atmosphere where very competent and powerful people listen to each other.  Like a Porsche with a very strong engine, running at 40 miles per hour.  It doesn't need to speed fast for you to know that it is a Porsche. In Secus all dancers take part.  I like to play with boundaries.  Passion and extremity,  reduction,  erupting force,  raw meat,  juicy body,  it has the pleasure of the moment, like tasting food.  Ohad Naharin


(...) "Bellus", "Humus" and "Secus," each about 30 minutes of exceptionally inventive, thrilling dance. Mr. Naharin's movement vocabulary involves the extreme engagement of the entire body - the 17 dancers (all extraordinary) fling their limbs and let their torsos and backs circle, buckle and dip with maximum energy - along with an equally extreme clarity. Without loosing momentum or verve, every movement looks caught in a freeze frame, an effect that has its maximum impact in the wonderful solos of the opening section, set to Glenn Gould's haunting rendition of the "Goldberg" Variations. R. Sulcas, July 2006, The New York Times




Choreography by Ohad Naharin

Lighting & Stage Design: Avi Yona Bueno (Bambi)

Costume Design: Eri Nakamura

Sound Mastering: Nir Klajman

Sound Design & Editing: Maxim Waratt

Bench Design: Amir Raveh

Music: Arranged and performed by Isao Tomita, Except for Data Matrix, by Ryoji Ikeda: Catacombs - composed by Modest Mussorgsky; Aranjuez - composed by Joaquín Rodrigo; Space Fantasy: Theme from "2001: A Space Odyssey" [Also Sprach Zarathustra] - composed by Richard Strauss; Die Walküre: Ride of the Valkyries, Tannhäuser: Overture - composed by Richard Wagner; The Unanswered Question - composed by Charles Edward Ives; Peer Gynt: Solveig's Song - composed by Edvard Grieg; Star Wars - Main Title - composed by John Williams; World of Different Dimensions - composed by Jean Sibelius; Prelude to the Afternoon of a Faun - composed by Claude Debussy; Suite Bergamesque, No. 3: Clair de Lune - composed by Claude Debussy

60 minutes without intermission

Performed by 11 Batsheva Dance Company dancers


Co-produced by Montpellier Danse 2010 and Lincoln Center Festival, New York

World Premiere - May 18, 2009 - Jerusalem Theater, Jerusalem, Israel


Each work by our own maverick Ohad Naharin is a surprise - but you can count on it to stimulate you. And HORA does just that.

The 11 Batsheva dancers who came onstage marked a changing of the guard for the company, as most of the old timers had gone. This troupe is as sharp as any previous cast, perhaps more so.

The misleading name Naharin chose for his work - HORA - is after the folk dance our forefathers did in the fields after a long, hard day of building the old-new homeland. Things may have changed, but this name is yet another titillating choice in the line of enigmatic titles Naharin so delights in offering.

His latest creation takes his own, unique dance language even further into a land of abstraction, where movement is an almost analytical process, and its interaction with the next phrase seems to derive its power from arbitrary sources.

The kaleidoscopic effect of the quick changes often carry so much beauty that the interplay onstage causes one to sway between unruffled observation of the intellectual kind to sheer marvel at the diversity and beauty imbedded in the human body and the incredible emotional range a simple move can produce.

The choreographic constructive process may seem clinical, sometimes indiscriminate, since most of the time each dancer is doing his string of moves concurrent to and independently of the others. The short sequences of moves bring turbulent and chaotic energies to the stage, but in a split magical second, all the pieces fall into some preordained grooves and harmonious calm fills the stage - soon to be deconstructed.

Naharin orchestrated the dance with symphonic flair and reined his dancers' individualities into fully controlled artistic heights.


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