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Vol. XVII No. 5 February 2002 |
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Ohad Naharin’s Equation of Energy
Most people would say lounge music, foldable chairs, and metronomes have nothing in common. Ohad Naharin, one of the choreographers for Juilliard’s Spring Dance Concert, might beg to differ. His work, titled Minus 7, takes the various objects mentioned above (and much more) to create a dance that speaks to people in all walks of life.
Just to clarify—Minus 7 is not a human math equation. Minus 7 compiles several excerpts of Naharin’s previous works into a dance with five sections. In the space of 20 minutes, the choreography explores many different styles of movement, from strenuous, athletic motion to simple gesture to improvisation. However, Minus 7’s worldwide acclaim and popularity prove that this piece is more than just a string of excerpts. Minus 7 has the ability to pull the audience right out of their seats. Ohad Naharin has been known to affect audiences in this manner since he began choreographing nearly 22 years ago. You could say it’s in his blood, being the son of artistic parents. His father was an actor and his mother taught dance and composition. After spending his childhood in Israel and joining the army, Ohad received an opportunity to perform with the Batsheva Dance Company. He then came to America and became a member of the historic Martha Graham Company. Martha saw Ohad’s unique talent and helped him obtain a scholarship to The Juilliard School. After Juilliard, Ohad danced with several companies in the U.S. and Europe before he was appointed artistic director and principal choreographer of Israel’s Batsheva Dance Company in 1990.
Since the announcement that Juilliard’s dancers would be performing Minus 7, anticipation of Ohad’s arrival could be felt in the hallways, studios, and dressing rooms. Dance companies all over the world—including the Netherlands Dance Theater II, Hubbard Street Dance Chicago, and Batsheva Dance Ensemble—have performed versions of Minus 7. Receiving an opportunity to perform the piece and work with Ohad would indeed be an honor. Each day, for a week, the dancers (myself included) would spend five hours learning the choreography and the essence of Ohad’s movement. When the first day of rehearsal finally arrived, everyone was eager to see what this extraordinary choreographer had to offer. Ohad’s quiet and reserved manner soon changed when he began to explain the movement quality and imagery within Minus 7; at one point, he threw a backpack across the room to demonstrate the outward energy we should exude with a particular movement. Later on, he led an improvisation in which one person at a time improvised solo. After a short break, Ohad incorporated music, and the improvisation developed into one large group. “Faster! Bigger!” he would push when we started to get tired. For hours at a time, we continued to improvise and explore the distinct quality for which he was looking. When the session was over, we stood there, dripping with sweat, out of breath, but excited and invigorated by the new concepts in movement we had just experienced.
When it was time for Ohad to leave, we had a few final minutes for questions. Someone asked about the meaning behind Minus 7. With a straight-faced expression, Ohad replied, “If it has one theme that’s a bad theme.” After a second of silence, then uncomfortable chuckles, he explains further,” It’s about moving efficiently.” He talked about throwing a rock. When you throw a rock it doesn’t go every which way, but moves efficiently. He also talked about how the composition of Minus 7 interests him. In his mind, the piece means something different every time; it is up to the dancers to “play the right notes.” In conversation with Minus 7 cast members, each individual shares his or her own insight into the work. “I think the music and dance speak together,” says fourth-year dancer Laura Halm. “The movement holds the emotion, so there’s no real need for a story line. It leaves room for individual interpretation.” This interpretation from the dancers has proven to be an important aspect of Minus 7. Though the end product and performance is a definite climax, the process of understanding the choreography is just as important.
Peter Chu, also a fourth-year dancer, concurs: “Getting over certain fears allows you to try things, like using your voice during the piece. The dance was harder to learn because it was dynamic in a different way. You had to take the texture of rubbing your fingertips together and bring that feeling to other parts of your body.” While speaking, Peter rubs his fingertips together; as he does, the texture of his words becomes calmer and simpler. Without realizing it, Peter has illustrated the natural quality that comes about in body language—when you’re angry, sad, or preoccupied and deep in thought. Ohad Naharin is quoted in Helen Kaye’s Jerusalem Post article as saying, “Everything I do is a game, so if I go back to an idea, it’s because it is another facet of the game.” Evidently his game is working. Audiences and dancers alike can’t get enough of Minus 7. Anyone who ventures into this private yet universal piece will experience Naharin’s perceptive take on humanity, life, and the power of art. Courtney Blackwell is a fourth-year dance student.
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