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Reflejo en un espejo retrovisor de la mirada de Ohad NaharinBorn in Israel, Ohad Naharin began his training as a dancer with Batsheva and continued his studies at Juliard. His choreographic debut in 1980 was greeted with both critical and popular acclaim. In 1990, Naharin accepted the invitation of Batsheva Dance Company, as artistic director for five months. There he staged some of his former works for the Company and created Kyr, commissioned for the closing event of the Israel Festival, Jerusalem. In June 1990 he was appointed Artistic Director of Batsheva Dance Company. He has given the company a distinct and daring artistic quality and led it to international fame.

Arbos. Ohad Naharin 1997


Escena de Arbos
  • Choreography: Ohad Naharin
  • Music: Arvo Part
  • Costume Design: Rakefet Levy
  • Light and Design: Bambi
  • Sets: Mari Kajiwara
  • World premiere by the Sydney Dance Company, in 1989. Premiered by Compañía Nacional de Danza at Palacio de Festivales de Cantabria, Santander, April 17th, 1997.
"I felt rather human in Arbos, and the music is more like a thin thread, connecting. And the thread leads to a place that is larger than the answer that I can give, which is really the place where God is wisdom, that thing in front of which I am a nothing, like dust at its feet."

"Arbos designa el lugar entre el cielo y el infierno. Una especie de pasaje" - comenta Naharin- "Creo que la música es como un delgado hilo que conduce a un lugar que es más amplio que las respuestas que yo pueda dar, que es verdaderamente el lugar de la sabiduría, eso en frente de lo cual yo me siento nada."

Arbos es una de las cuatro coreografías que Naharin ha creado con música de el compositor Arvo Pärt.

Extractos de Kyr. Ohad Naharin 1996


Extractos de Kyr Scene
  • Choreography: Ohad Naharin 
  • Music: "The Tractor`s Revenge" and Ohad Naharin 
  • Lighting Design: Bambi 
  • Staged by: Mari Kajiwara
  • World premiere by the Batsheva Dance Company and the Israel Festival, in Jerusalem, 1990. Premiered by Compañía Nacional de Danza at Teatro de Madrid, March 30th, 1996.

Seated in a semi-circle the dancers begin a rhythmic series of undefined movements repeated over and over to the accumulative verses of the song. With each new verse another line is added until the whole becomes a frantic recitation acted out by the dancers."The dance stemmed solely form the structure of the song, which develops as an arithmetic progression.This is for me a perfect example of what I often like to feel about a work: a fusion of science with history, of mathematics with religion, of form with chaos." Rock music suited the energies I was looking for. It was clear to me that Extractos De Kyr had to use original music which had drive and energy. Not precisely rock music, but music which stems from the energy and attitude of rock. I joined the members of "The Tractor`s Revenge" as a colleague in the creative process. The idea was that the music and the dance will be created as a simultaneous interaction, from the same starting point in time and space. We worked together as a groupof four people. The relationships were complex because I was in fact the father of the piece. I had a clear vision concerning the character, the dramatic weight and the central idea of each segment, but I did not have the flesh and bones of it. The very fact that they created news sounds took out of the choreographer in me things I would not have discovered otherwise.I appreciate economy both in music and in movement. I admire quietude and space between the sounds, a suspense which leads towards sizzling lava.By using polar elements, I want the work to have as wide a range as possible. Between the poles there is more space to transmit feelings, sensations and experiences

Ohad Naharin.

Perpetuum. Ohad Naharin 2003


Perpetuum. Dancer: Tamako Akiyama
  • Choreography: Ohad Naharin
  • Music: Johann Strauss (son)
  • Sets: Arik Levi
  • Costumes: Rakefet Levy
  • Light Design: Avi Yona Bueno (Bambi)
  • Staging: Yoshifumi Inao y Adi Salant
  • World premiere by Le Ballet du Grand Théâtre de Genève, January 1992. Premiered by Compañía Nacional de Danza at Teatro Real de Madrid, April 30th, 2003.
  • A work created by Ohad Naharin in 1992, based on music by the younger Johann Strauss, “And then the waltzes appear. Johann Strauss´ waltzes: balanced, twirling and swirling and melting like bitter caramel in one’s mouth. In contrast to the very familiar setting surrounding this music, Ohad Naharin has let his humor run wild...”

With the sound of the zesty and zany waltzes, the dancers and spectators find themselves enveloped in a whirlwind of gang, sarcasm and color. A parody on the theatre, opera, the bourgeois, and dance. It is one of Ohad Naharin’s most colorful and surprising works, with costumes by Rakefet Levy and lights by Bambi. The piece was written in 1992 for the Grand Théâtre de Génève and since then has been performed by numerous dance companies in Europe with tremendous success.

In Israel, Perpetuum has been performed on special occasions such as the inauguration of the Festival of Israel, in 1992, and the opening of the Centre of Performing Arts in Tel-Aviv in 1993. The Batsheva Dance Companystaged Perpetuum again in 1999 in co-production with Austria’sSt. Polten Festpielhaus. “In the first place I am captivated by movement and action. I’m also exploring the proximity of form and content. I’m intrigued by the uncertainty arising from the grey zones between the pure and the corrupt, between the expected and the unexpected, between the intended and the final results.”

Perpetuum is a piece showing that my work often deals with casting off weight, and that I consider levity a virtue, not a defect (Ohad Naharin, May 2002).


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