Staying in control while completely letting go. This sounds impossible but the members of Batsheva Dance Company proved Tuesday night that they are the undisputed masters of this physical quandary. The Israeli troupe's performance at the Northrop, presented in partnership with the Walker Art Center, showcased choreographer Ohad Naharin's vision for the moving body as a vibrant and electric force.
"Gaga," a movement "language" developed by Naharin over the past two decades, is the source of the dancers' tireless energy. The approach draws upon the individual's sensory relationship to movement while inviting suppleness of the limbs and spine.
It all works in harmony with the dancers' clear intent and sharp articulation, witnessed throughout the company's performance of "Decadance 2017," an artfully arranged set of excerpts from 10 Naharin works.
The show-stopper came early in the performance, during the opening section from "Anaphase" (a piece from 1993). The dancers wore black suits and sat on folding chairs arranged in a semicircle — and it looked like 17 people combined into a single pulsing being. The work has been performed by as many as 100, which would be a sight to see.
Movement rippled through the dancers' bodies — extreme back arches, stomping feet, chants in Hebrew (specifically "Echad Mi Yodea," a counting song familiar at Passover). With each section the dancers flung another piece of clothing into a pile, down to their skivvies. Together they channeled passion and violence, conformity and dissent into a highly disciplined performance.
The flow of the evening moved through the brash and the quiet as scenes from "Z/na" (1995), "Kyr" (1990), "Virus" (2001) and other works unfolded. The influence of Gaga was apparent as the dancers interacted with one another, their colleagues seemingly extensions of themselves. Gaga is both personal and communal in its impact.
Speaking of communal, at one point several audience members were brought on stage to join the dancers. This was done in the spirit of Naharin's Gaga/People classes where anyone can participate, no matter their physical abilities. The audience members were game (a few ended up with dancers wrapped around their bodies), but the scene felt like an eager-to-please gimmick after a while. It was too forced in its comedy.
Overall, though, the evening showcased Naharin's singular ability to inspire the desire for movement in everyone. And that is to be celebrated.
