by Byron Woods
“But…it looks really different when it’s placed on ballet dancers!”
That’s what ADF sources told us when we asked about the differences between the version of Decadance that festival goers saw here in 2004 and the version Cedar Lake Contemporary Dance performs this week at DPAC.
Though the company provided us with the 30-second clip above, you can view a 5½ -minute excerpt from the company’s website here.
The work constitutes a potent fast-forward through ten years of choreography Naharin created for his Batsheva Dance Company in Israel. Vivid sequences excerpted from works including Naharin’s Virus and Anaphaza pointedly critiqued the politics of coercion, surveillance, intimidation and religious extremism, while others probed the questionable ethics of erotica. Its original decanting at ADF gave audiences an example of artistic protest as bracing as Maguy Marin’s One Cannot Eat Applause—and possibly more entertaining.
We’ll let you judge the differences between the ballet dancers above, and the original version, below:
Collaboration with Sarah Ewald and Belem Destefani.