International language

BASYA LAYE

Israeli contemporary dance is increasingly known around the world for its versatility, dynamism and ingenuity. In the last few years, Vancouver has seen several Israeli companies visit and numerous Israeli works performed, among them pieces by Hofesh Shechter, Barak Marshall, Itzik Galili and Arkadi Zaides. Next week, DanceHouse welcomes Norway’s Carte Blanche, who bring Sharon Eyal and Gai Behar’s Corps de Walk to local audiences.

The Independent spoke with Bruno Heynderickx, Carte Blanche artistic director, by e-mail about the state of international contemporary dance and what it has been like to work with Eyal and Behar, now for the third time.

“Probably one of the biggest changes that occurred since I started dancing (at age six) is that contemporary dance has become less marginal and is now an accepted art form that can also attract and is accessible to large audiences,” Heynderickx said. “Another important change is that – and, here, I am speaking from a European perspective – more and more dance has been created outside of traditional dance institutions.” He added, “I also observe that in the past five years there is again an increased interest in ‘dance that dances’ versus a trend, here in Europe at least, of more conceptual dance and ‘non dance’ in the late ’90s, start of 21st century.”

About working with Eyal and Behar, Heynderickx said, “Corps de Walk is the third collaboration between Sharon Eyal and Gai Behar and Carte Blanche. After Killer Pig in 2009, this piece is the second creation they have made specifically for our dancers. Corps de Walk is also the first full-length work that Sharon and Gai created outside of Batsheva Dance Company, in which Sharon was house choreographer.”

Eyal and Behar collaborate in art and in life. “They are indeed a couple, and the youngest of their two children was born here in Norway in 2009, just a couple of days after we premièred Killer Pig,” Heynderickx said. “To what extent the fact of them being a couple or having children impacts on their work I do not know, but I would describe Sharon and Gai’s collaborative process as a process in which they are incredibly complementary to each other.

“Naturally, Sharon has a largest input in the creation of the movement material, but a good piece consists of much more than just inventive movement. It needs clear dramaturgy, a good rhythm, solid concept, interesting costumes and light and so forth. All of these elements are meticulously discussed by Sharon and Gai and subject to their joint decisions.”

Aside from Norwegian light designer Torkilø Skjærven, for Corps de Walk, there is “another essential person in their collaboration,” said Heynderickx: Israeli musician and DJ Ori Lichtik. “Like Gai,” he said, “Ori is equally present from day one of the rehearsals, gradually constructing the music score that is as inventive, broad, captivating and rich as the choreography.”

As a language without “verbal expression,” he continued, “audiences around the world can be captured by movement” from any country or nationality. “Israel is indeed one of the countries in which dance, and more particular by contemporary dance, has been flourishing over the years. It is correct that many of Israel’s choreographers are and have been active also on the international dance scene, but I am unsure if their number has increased in the past years. Could it be that they have just become more visible in a world that is more mobile, more open, more connected?” he wondered.

While he is not certain that there is an “Israeli sensibility” per se, he said that there is definitely a unique energy that is communicated through Israeli dance. “Trademark for the movement language of many Israeli choreographers is in my eyes a kind of urgency, a roughness and an existential need to be or stay grounded,” he explained. “In my view, this is linked to the geographical location and political context of their country. Most Israeli work that I have seen is equally based on a strong physical movement language making it accessible.

“More generally, though, I would say that as artistic director of Carte Blanche, I always seek to commission work by choreographers that I believe will be interesting, stimulating and artistically enriching for both our dancers and our audiences.”

It’s not nationality that counts when selecting choreographers, Heynderickx noted, “what counts is the quality of the work and if the artistic encounter between our dancers and the choreographer provides an interesting and enriching experience for all involved. In looking for choreographers for the company I equally like to ‘play’ with the encounter of or between different cultures. An example for this could be the Tibetan/Chinese choreographer Sang Jijia, whom I commissioned to create our next program.”

Described as “beguiling beautiful and aggressive,” a “highly esthetic experience,” “precise” and a work of “sensitive, wild poetry,” Corps de Walk is on stage March 22 and 23, 8 p.m., at the Vancouver Playhouse. For tickets, visit dancehouse.ca.

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