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(1hr 15mins, no intermission)

About Esplanade – Theatres on the Bay

Esplanade is a proud member of

Association of Asia Pacific Performing Art Centreswww.aappac.net

1 Esplanade Drive, Singapore 038981 Tel: 6828 8222 Fax: 6337 3633Customer Service Hotline: 6828 8377 SISTIC Hotline: 6348 5555

Esplanade is Singapore’s national performing arts centre and one of the busiest arts centres in the world. Since its opening in 2002, the centre has presented more than 31,000 performances, drawing an audience of 22 million patrons and 84 million visitors. This architectural icon, with its distinctive twin shells, houses world-class performance spaces complemented by a comprehensive range of professional support services. Its two main venues are the 1,600-seat Concert Hall and a Theatre with a capacity of 2,000. In March 2014, Esplanade’s Concert Hall was listed as one of the “world’s 15 most beautiful concert halls” by Hamburg-based building data company Emporis.

Esplanade’s vision is to be a performing arts centre for everyone and it seeks to enrich the lives of its community through the arts. The centre’s programming is guided by its mission – to entertain, engage, educate and inspire. Its year-long arts calendar of about 3,000 performances presented by Esplanade, its collaboration partners and hirers cater to diverse audiences in Singapore and span different cultures, languages and genres including dance, music, theatre, visual arts and more. More than 70% of the shows that take place each year at the centre are non-ticketed. In May 2015, Esplanade was chosen as one of SG Heart Map’s 50 special places.

Esplanade regularly presents world-renowned companies and artists that attract international attention and add to Singapore’s cultural vibrancy. The centre is also a popular performance home for arts groups and commercial presenters who hire its venues to stage a wide range of programmes. These carefully curated presentations complement Esplanade’s own diverse offerings for audiences.

Esplanade works in close partnership with local, regional and international artists to develop artistic capabilities, push artistic boundaries and engage audiences. The centre supports the creation of artistic content and develops technical capabilities for the industry nationally.

Esplanade – Theatres on the Bay is operated by The Esplanade Co Ltd, which is a not-for-profit organisation, a registered Charity and an Institution of a Public Character.

Visit www.esplanade.com for more information.

All rights reserved.UEN: 199205206G Information correct at time of print.Please note that photographs and videos of patrons may be taken at this event for use in our archival and publicity material.

Board Members

Mr Lee Tzu Yang (Chairman) Mr Benson Puah (Chief Executive Officer)Mrs Rosa Daniel

Dr Jennifer LeeMs Kathy Lai

Mrs Christine Ong

Mr Ramlee Bin BuangMs Saw Phaik Hwa

Mr Kenny Powar

Mrs Mildred Tan-Sim Beng MeiDr Ming TanMrs Valarie WilsonMr Yap Chee MengMr Andre Yeap

In times of uncertainty, we can turn to dance as a means to reflect and connect with ourselves, with others, and

to the world in new ways. Our bodies in stillness and motion have the ability to be powerful tools of expression,

experimentation and representation.

da:ns festival 2016 is honoured to present three dance masters who have translated the emotional and physical forces

of love, suffering and life into profound works of art. Pina Bausch, Ohad Naharin and Sara Baras have created bold

movement practices and philosophies that draw from the beauty, complexity and strength of humanity. In their long

years of making dance, they have inspired countless artists, and touched audiences all over the world. da:ns festival will

be an opportunity to experience some of their most significant works live on stage.

The festival regularly supports artists with the creation of new work and has commissioned two productions. Raka Maitra

with CHOWK Productions responds to the civil wars in Sri Lanka by examining the deep connections one has to one’s

land, roots and loss—a pertinent subject of our times. Emmanuèle Phuon with Amrita Performing Arts is inspired by the

lives of Cambodian boxers. In her work, she reveals the personal struggles of the fighters, as well as honours them with

choreography drawn from gestures of boxing. These commissions are part of Esplanade’s commitment to developing the

performing arts, particularly in this region where support for new dance work is limited.

This year, we also present new experiences that offer different perspectives of dance. da:ns collaborates with indie

cinema The Projector for the first time to present documentaries that give access to significant dance artists. Another new

programme is Coffee Chats, a series of intimate sessions where you can meet a practitioner and ask all the questions

you ever wanted to know about dance. Also new is the addition of Sixteen Dance Challenge. Formerly presented under

Esplanade’s youth festival, the platform which mentors aspiring and talented street dancers finds a home in da:ns.

Through movement we can find great physical and emotional release, and through choreography we can experience

new modes of perception. da:ns festival invites all dance lovers and those curious to nurture your personal and unique

connection to movement, for in the wise words of Pina Bausch, we must “dance, dance or otherwise we are lost”.

Faith Tan

Producer, Dance Lead

On behalf of Esplanade’s da:ns festival team

FESTIVAL MESSAGE

To all dance lovers and those curious, Esplanade’s da:ns festival invites you to fall in love with dance through a full-hearted

celebration of movement this October.

With powerful performances from around the world, exciting new creations and a wide range of opportunities to learn

different kinds of dance, this 11-day festival will open your mind, lift your spirits and get your body moving. P

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Proclaimed by The New York Times as an experience that will make you “want to jump onstage and dance,” Decadance, created by award-winning artistic director Ohad Naharin, is a collage of past and present excerpts from the movement genius’ repertoire spanning 20 years, weaved into one single dynamic production.

From intimate duets to exhilarating full company pieces against a soundtrack veering from Vivaldi to Dean Martin, this evolving retrospective is regularly reshaped each time it is staged. A physically demanding production, it is performed and interpreted with phenomenal physical technicality and sensitivity by the internationally acclaimed Batsheva Dance Company. Hailed by Mikhail Baryshnikov as “the best dancers in the world”, the company embodies Ohad’s signature style “distinguished by stunningly flexible limbs and spines, deeply grounded movement, explosive bursts and a vitality that grabs a viewer by the collar” (The New York Times).

Decadance is an opportunity to experience a mesmerising survey of the extraordinary development of two decades of Naharin’s compelling choreographic craft, supremely textured movement vocabulary and innovative gaga philosophy that has established him as one of the world’s pre-eminent choreographers.

“ Deca Dance is an extraordinary feast of movement” – Seattle Post-Intelligencer

“ The ever-changing collage that choreographer Ohad Naharin keeps remaking from his considerable body of dances … the list of ingredients is not really the point – each new mix has its own flavour.” – The Miami Herald

SYNOPSIS

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Z/na (1995), Kyr (1990), Telophaza (2006), Anaphase (1993), Mabul (1992), Sadeh21 (2011), Virus (2001), Zachacha (1998), Three (2005), Max (2007)

(1hr 15mins, no intermission)

Lighting Design for the original creations: Avi Yona Bueno (Bambi)

Costume Design by: Rakefet Levi

The world premiere of Deca Dance was in 2000, at Suzanne Dellal Center, Tel Aviv

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PROGRAMME

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Dancing without mirrorsRaka Maitra interviews Ohad Naharin

Raka Maitra is a Singapore choreographer who leads her company CHOWK Productions in contemporary dance practice rooted in classical Indian odissi. Ohad Naharin is a world-renowned Israeli choreographer known for Gaga, his movement research. Both have works being presented in da:ns festival in 2016.

Two weeks before the festival, we invited Maitra to pick Naharin’s brain through a long-distance telephone call. The result? A candid and insightful conversation that touches on various topics including Gaga, why connection plays a big part in dance, the importance of being groovy, and why both of them are not fans of mirrors.

Form and style

Raka Maitra (RM): Hello Ohad. I’m not used to interviewing people, but I’ve got a few questions I’d like to ask you. Firstly, how important is style to your choreographic practice? What is the connection between form and style?

Ohad Naharin (ON): Hi Raka. You know, some people can connect form and style. But for me, it is like…banana and hairspray—they don’t connect.

RM: (laughs) Yes.

ON: Actually, one of my thoughts in my work is to appear as though I have no style. I don’t like to belong to a style, to be associated to a style.

But form is really, really important. The whole idea of the sublimation of my emotion—my fears, anger, passion, love—used together with the clarity of form, is a huge part of the act of choreography. All of the above should appear free of style.

What is Gaga?

RM: What would you call Gaga then? From what you describe, it’s a form, right?

ON: Gaga is a research of movement. It’s like a laboratory of research. Gaga is the way of working that gives the dancers a toolbox.

RM: I find Gaga beautiful. I love the way your dancers move, the choreography. But I couldn’t place a finger on it. What would you say is the distinctive feature of someone doing Gaga?

ON: Gaga teaches you to get rid of your habits. And style is very much connected to habits.

RM: Correct, yeah.

ON: So once you get rid of habits, or at least are aware of your habits, you become a lot freer and a lot more open to new habits, new suggestions. With Gaga, you never ask what to feel, but you ask what to sense.

Gaga teaches you how to listen to your body before you tell it what to do. It teaches you how to connect.

You connect to the connection of effort and pleasure, the connection of effort and distribution of effort, using different parts of our body. You connect to the flow of energy and the use of gravity. You connect to all aspects of movement, to the scope of sensation, which is very, very huge and important.

You also connect to your limitations and weaknesses, and go beyond familiar limits on a daily basis. You connect with the ability to laugh at yourself. You connect with all the things that strengthen you.

All these can be channeled with the toolbox that Gaga gives whomever is using it, dancer or not dancer.

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Dance training and teaching

RM: Lovely. Do you think it’s a disadvantage when a dancer trains in just one form of dance when they’re very young, when you are rooted in that one thing?

ON: I think that’s a disadvantage in any area and any field, doesn’t matter if it’s dance, music or, you know, science. We need to be open and aware, and practise more than just one form.

But it’s a very tricky question, because it’s also how the form is being taught. It’s about the teacher, the way he does it has huge importance. The teacher is channeling the knowledge to the student, but the way he does it, it has a huge importance. You have so many ways of teaching one form.

Finding inspiration

RM: I’m very inspired by text, by literature, by stories. What inspires you and your choreography?

ON: The human body inspires me, the expression of the human body. I just need the intimacy with my dancers. I’m always inspired to research movement.

I can also be very much inspired by the artistic expression of other artists that I like, be it in movies, music, literature or visual arts. I can also be inspired by nature, and I feel that I connect to what I call “human conscience”, something that has to do with, you know, humanity. Human qualities trigger why and how I choreograph.

Auditioning for “groovy-ness”

RM: When you audition dancers, what do you look out for?

ON: We have, in Batsheva Dance Company, two companies. We have the junior and the main companies. All the dancers from the main company come from the junior company, so we don’t do auditions for the main company.

I have two or three years to know, really closely, the dancers in the junior company, and this is sort of an audition. Their time in the junior company is how I’m going to decide who goes into the main company.

For the junior company, we hold auditions every year. So, almost every year, half of the junior company changes. It’s a little bit like auditioning students for a school, because although it’s full-time and you do lots of shows in the junior company, you are still in a state of learning.

If I find someone is very talented, but I feel that the treasures that he has are still maybe locked inside him, in two years in dance I can maybe open up those treasures. I’m more interested in the treasures than the ability to do something.

I look for people with potential, that are very coordinated, groovy, intelligent. People who have the ability to laugh at themselves, to connect to silliness.

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RM: “Groovy”. What is “groovy-ness” for you?

ON: Dancers, they have to have the groove, something to connect with the outside world. This inner rhythm has to do with the rhythm of the universe. It’s the, you know, the sync between the rhythm and what’s going on.

A groovy dancer has what I call sensitive skin. He can feel the air that touches him, and he can feel the flow of energy and something that can become very percussive.

A day in the life of Ohad Naharin

RM: What is a typical work day like for you?

ON: I like to wake up early, like five or six. I like to have time for myself before my daughter and my wife wake up.

Then, before I start dance work, I have to go into meetings, the things that have to do more with office stuff that I have as a director. I try to get rid of it before I actually start.

At 10, we have a Gaga class and I usually teach it. One of my most important moments of the day is the Gaga class. It’s one hour and fifteen minutes where I teach the dancers, and this is where I develop Gaga. Gaga is still developing all the time.

And then we rehearse for somewhere between four to six hours, with a break in between. If there’s a show, it’s completely different. If there’s a premiere, this can be 14, 16 hours.

Tradition and mirrors

RM: What for you is tradition in dance? Is there a tradition you belong to?

ON: Tradition is about remembering where we come from, the ability to learn from other people’s experience. It doesn’t mean that you need to be specialised or obey the codes of traditional dance styles or philosophies.

Tradition is something that tests you about the past. Some old ideas are good, some old ideas we should also be able to let go. I don’t know about Indian dance, but it’s traditional in dance in the Westernworld, to work with mirrors, for example…

RM: We don’t work with the mirror in Indian dance. That’s the first thing that we are forbidden to do, because we are supposed to feel what we do, not see what we do.

ON: I love it, I love it. You see, in Gaga, and in any kind of dance that I do, we don’t have mirrors in our studio. So we have to feel.

Every time I go to work with other companies, in my contract, the company has to cover the mirrors. I have arguments about this all the time.

RM: In Indian dance, our masters forbid us to look at the mirror, because they say then you’re not alone in the studio, there’s somebody looking at you.

And the whole thing is then on the surface, so you don’t feel what you’re doing. And so my studio doesn’t have mirrors.

ON: That is so good to hear.

RM: When I was reading about you, I was so happy to find out about the “no mirrors”. Is there anything else you would like to share?

ON: I just would like people to dance. Every day.

RM: Yes, everybody should dance every day.

Raka Maitra’s Chowk Productions presents The Second Sunrise at da:ns festival on 14 & 15 Oct 2016

Ohad Naharin’s Batsheva Dance Company presents Decadance at da:ns festival on 21 & 22 Oct 2016.

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Founded as a repertory company in 1964 by the Baroness Batsheva de Rothschild, who enlisted Martha Graham as its first artistic advisor, Batsheva Dance Company appointed

Ohad Naharin as Artistic Director in 1990, which propelled the company into a new era with his adventurous curatorial vision and distinctive choreographic voice.

“ Naharin may be today’s most widely worshiped guru of modern dance” – The Dance Magazine

ABOUT BATSHEVA DANCE COMPANY AND OHAD NAHARIN

The company now maintains an extensive performance schedule in Israel

and internationally with over 250 performances and over 75,000 spectators

per year. The award-winning Naharin is also the originator of the innovative

movement language, gaga, which has enriched his extraordinary movement

invention, revolutionised the company’s training, and emerged as a growing

international force in the larger field of movement practices for both

dancers and non-dancers. Gaga provides a framework for discovering and

strengthening the body, and adding flexibility, stamina, and agility while

lightening the senses and imagination.

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Avi Yona Bueno, also known as Bambi, began his career as a lighting designer for rock concerts. He has designed shows for leading Israeli singers and bands including Ofra Haza and Rita as well as for international stars including Nina Simone, Dizzy Gillespie, Louis Armstrong, and Chick Corea. In the 1980s, Bambi moved to London, where he worked for the Pink Floyd lighting company and Britannia Row Productions. He also did lighting design for Meatloaf and toured Europe with popular artists including The Cure, The Commodores, and the Thompson Twins. Upon his return to Israel, Bambi began designing for the theater. He worked with prestigious repertory theatres such as the Cameri Theatre and the Habima National Theatre as well as fringe and experimental theater productions. Bambi currently serves as the resident lighting designer for the Gesher Theatre and the avant-garde Itim Theatre Ensemble, founded by Rina Yerushalmi. He has been widely acclaimed for his impact on the field of lighting design in theater and was honored with numerous awards, including the 1995 Moshe Halevi Tel Aviv Prize for transforming lighting design in Israel into an art form. In 2011, Bambi received the Theatre Award for Best Lighting category for Gesher Theatre’s production of Six Characters in Search of an Author.

In 1992, Bambi began designing for dance. At Batsheva Dance Company, where he is Resident Lighting Designer, he has lit Ohad Naharin’s Kyr, Passomezzo, Mabul, Arbos, Perpetuum, Black Milk, Sinking of the Titanic, Queens of Golub, Anaphaza, Sabotage Baby, Virus, Kaamos, Z/na, Moshe, Zachacha, Mamootot, Telophaza, Furo, Three, and MAX. He has also designed for Sharon Eyal’s Love, Quiet Village, Bertolina, and Makarova Kabisa. Outside of Batsheva, Bambi has lit productions for such renowned dance companies as the Cullberg Ballet, Carte Blanche, Nederlands Dans Theater, Paris Opera Ballet, the Royal Danish Ballet, and the Alvin Ailey American Dance Theater. Bambi’s lighting has also illuminated numerous operas, musicals, stadium productions, television productions, museum installations, and architectural projects, as well as the Israeli Opera productions in Masada - Nabucco (2010) and Aida (2011). He is in the process of developing his Tel Aviv studio for creating lighting installations.

Rakefet Levy is a graduate of The School of Art – Hamidrasha in Ramat Hasharon and the department of fashion design of the Shenkar College. Rakefet has taught and still teaches in many academic institutions, such as the Shenkar College, The School of Visual Theatre, Jerusalem, Vital College for the Arts and the Bezalel Academy for Art and Design. She has established and managed the School of Visual Art and Stage Design in Tel Aviv.

Rakefet has designed sets and costumes for tens of plays in Israel’s leading theatres, among others for Hanoch Levin, Yossi Izraeli, Rina Yerushalmi, Hanan Snir, Ofira Henig, Yossi Polack, Yvgeni Arieh, and has won numerous Israeli Academy of Theatre awards. She directed and designed Cinderella for the New Israeli Opera (2007). Rakefet has also designed costumes for many films, television shows and musical productions.

Since 1991, Rakefet has been a co-creator of Ohad Naharin, designing costumes for the Batsheva Dance Company and the Batsheva - the young Ensemble.

Avi Yona BuenoLighting Designer

Rakefet LevyCostume Design

ARTISTIC TEAM

William Barry

William was born in 1989 in New York. He graduated from Juilliard in 2011. Performed with Gallim Dance and Keigwin + CO. Joined Batsheva Ensemble in 2011 and Batsheva Dance Company in August 2012.

Yael Ben Ezer

Yael Ben Ezer was born in 1995 in Tel-Aviv, Yael studied at Tel-Aviv School of the Arts and graduated from Alon High School’s dance department. She participated in the Excellence Programs of both Batsheva Dance Company and the Kibbutz Contemporary Dance Company. During the summer of 2010 she participated in the Dance is Culture (Israel/Italy) project directed by Adi Salant and Mauro Astolfi. Yael joined the young Ensemble in 2013 and Batsheva Dance Company in 2016.

Matan Cohen

Born in Haifa in 1993, Matan studied at the Dance Department of Wizo High School for the Arts. He is the recipient of the honoring scholarship of Haifa Cultural Foundation (2011) and of the American Ballet Academy (2011-2012). He graduated from the training program of Bikurey Ha’Itim and the Excellence Programs of both Batsheva Dance Company and the Kibbutz Contemporary Dance Company. Matan serves in the IDF as a privileged outstanding dancer. He joined the young Ensemble in 2013 and Batsheva Dance Company in 2016.

Omri Drumlevich

Omri was born in Kibbutz Ramat Rachel in 1992. He danced with Mehola Jerusalem and studied at the Jerusalem Academy of Music and Dance. Omri participated in Batsheva Ensemble’s Excellence program. He joined Batsheva Ensemble in 2010 and Batsheva Dance Company in August 2012.

BATSHEVA DANCE COMPANY DANCERS’ BIOGRAPHIES

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www.braunbuffel.com

www.braunbuffel.com

Bret Easterling

Bret Easterling was born in the US in 1988. He studied at the Juilliard School where he graduated with Hector Zaraspe Prize in 2010. While being involved in many school projects, he also performed with Andrea Miller’s Gallim Dance. Bret joined Batsheva Ensemble in 2010 and Batsheva Dance Company in August 2012.

Hsin-Yi Hsiang

Hsin-Yi Hsiang was born in Taiwan in 1983. She received her Bachelor of Fine Arts in Dance from the University of Illinois at Urbana-Champaign where she was awarded scholarships for four years. Hsin-Yi relocated to New York City and joined LeeSaar, The Company from fall 2007-2014. She joined Batsheva Ensemble and then Company in 2014.

Rani Lebzelter

Rani Lebzelter was born in Israel in 1989. She studied at the Bustan School for the Performing Arts in Netanya. During 2009-2010 Rani trained at the dancer’s workshop in Kibbutz Ga’aton. Between 2009-2011 she took part in the dance training course under the direction of Naomi Perlov and Ofir Dagan. In 2010 Rani participated in the Batsheva Dance Company Excellence Program directed by Hillel Kogan. She joined Batsheva Ensemble in 2012 and to the Company at September 2014.

Ori Moshe Ofri

Ori was born in Israel in 1991. He graduated from the Jerusalem Academy of Music and Dance High School and joined Batsheva Ensemble in 2009 and Batsheva Dance Company in August 2010.

Rachael Osborne

Rachael was born in Canberra, Australia and trained at the National Capital Ballet School under Janet Karin OAM. She moved to Brisbane in 1998 where she lived for three years whilst completing an Associate Degree in Dance at the Queensland University of Technology. She joined Batsheva Ensemble in January 2001, and was a member of Batsheva Dance Company from January 2003-September 2012. Rachael is returning this season as a member of Batsheva Dance Company.

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Nitzan Ressler

Nitzan was born in Jerusalem in 1992. As a child she danced with Hora Jerusalem and studied at the Jerusalem Academy for Music and Dance High School. Nitzan is the recipient of the 2008-2010 Israel-America Cultural Foundation education scholarship. She joined Batsheva Ensemble in 2010 and Batsheva Dance Company in August 2012.

Ian Robinson

Ian was born in the U.S. in 1985. He graduated from New York University and performed with Mikhail Baryshnikov’s Hell’s Kitchen Dance, Complexions Contemporary Ballet, Les Ballets Jazz de Montréal, Sydney Dance Company, and Aszure Barton & Artists. Ian joined Batsheva Dance Company in August 2009.

Etay Axelrod

Etay Axelrod was born in 1995, Itai graduated from Blich High School in Ramat Gan. He attended in the American Academy of Ballet Summer Course (2012), Peridance School in Manhattan (2013), and SIBA in Salzburg under full scholarships. Etay was a recipient of the America-Israel Cultural Foundation Scholarship in 2013-2014. He serves in the IDF as a privileged outstanding dancer. Etay joined Batsheva -the young Ensemble in 2014, after completing a year as an apprentice.

Or Meir Schraiber

Or was born in 1992. He studied at the Jerusalem Academy for Music and Dance High School, and danced with Hora Jerusalem since the age of 8. Or took part in Batsheva Dance Company’s Excellence program. He joined Batsheva Ensemble in 2010 and the Company in August 2013.

Maayan Sheinfeld

Maayan Sheinfeld was born in 1992. She graduated from the Thelma Yellin High School for the Arts. Maayan is the recipient of the 2007-2010 Sharet Fund scholarship. She participated in a summer dance courses in Prague, Salzburg and New York’s Juilliard and joined Batsheva Ensemble in 2010 and Batsheva Dance Company in 2012.

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Yoni Simon

Yoni was born in 1995 and is a graduate of the dance department at the Ironi Alef High School in Tel Aviv. During his studies, he participated in a student exchange program with the de ! Kunsthumaniora school in Belgium. Yoni participated in the Batsheva Excellence Program in 2011-2014 as well as in the KCDC Excellence Program in 2011-2012. He was the recipient of a full scholarship to the American Academy of Ballet summer course in 2013. Yoni serves in the IDF as a privileged outstanding dancer. He joined as an apprentice in 2014 and the young Ensemble in 2015. In 2016 he joined Batsheva Dance Company.

Zina (Natalya) Zinchenko

Zina was born in Moscow in 1987. She started dancing at the contemporary dance school of Nikolay Ogryzkov (1999-2004). Zina graduated from Rotterdam Dance Academy (Codarts) in November 2007. She danced with Galili Dance (2006-2009), Noord Nederlandse Dans (2009-2011). Joined Batsheva Ensemble in 2011 and Batsheva Dance Company in August 2012.

Adi Zlatin

Adi was born in Israel in 1983. She studied at the Jerusalem Academy of Music and Dance from 1996-2001. Adi joined Batsheva Ensemble in 2001 and Batsheva Dance Company in August 2004.

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“It was a new experience and wonderful evening that was simply perfect.

We will remember this for a long time.” – On being hosted to a performance at Esplanade Concert Hall

You can help make a difference.Your generous donations will help in creating

incredible arts experiences for the underprivileged.

For more information, please contact 6828 8321or donations@esplanade.com

A Community Engagement Programme by Esplanade – Theatres on the Bay

UEN: 199205206G Information correct at time of print. EsplanadeSingapore#esplanade

EsplanadeSGwww.esplanade.com

Wong Li Li

31 Dec 2017

Norlina Aljunied

Sanjay Kumar

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