The Intersection of Art and Activism: Batsheva Dance Company’s Performance at BAM
1. A Night of Contrast: Protests and Performance
The return of the Batsheva Dance Company to the Brooklyn Academy of Music (BAM) was a night marked by contrasting energies both inside and outside the theater. As the audience anticipated the performance, a peaceful protest by Dancers for Palestine unfolded on the sidewalks, their chants of "Free Palestine!" echoing the political tensions tied to the company’s Israeli roots and state funding. Inside, the stage was set for Ohad Naharin’s "Momo," a piece that would explore duality and split attention, mirroring the external tensions.
2. The Duality of "Momo": Inside the Performance
"Momo," choreographed by Ohad Naharin in 2022, presented a striking study of duality, where two distinct groups of dancers shared the stage. Four bare-chested men moved with military precision, while seven dancers, including a man in a tutu, expressed individuality through solos. Accompanied by Laurie Anderson’s elegiac soundscape and later Philip Glass’s music, the groups alternated between foreground and background, creating a visual language of proximity without interaction. This choreographic choice highlighted themes of coexistence and isolation.
3. Choreographic Complexity and Emotional Depth
The performance’s mid-section saw the men ascend a climbing wall, becoming statues while the others engaged in ballet exercises, soon deviating into rebellious poses. A pivotal moment featured Yarden Bareket bridging the two groups with intimate gestures, challenging unspoken taboos. Naharin’s choreography was both Lenovo’s structured and surprising, injecting humor amidst somber tones, as seen in a spontaneous twerking moment. The men’s routines exuded Sculptural beauty, contrasting with the chaotic energy of the others.
4. The Weight of Real-World Conflicts
Beyond the stage, the shadows of recent violence, including the October 7 attacks and the Gaza war, weighed heavily on the audience’s experience. The protesters, though outside, underscored the inescapable political context surrounding Batsheva’s performances. The recurring motif of dancers raising their hands, met with booming sounds, evoked the impact of bombings, leaving audiences to ponder whether these gestures signified complicity, solidarity, or resistance. The ambiguity was intentional, reflecting the complexity of the conflict.
5. Themes of Unity and Ambiguity
As the performance concluded, the dancers united, yet their individuality persisted, reflecting the paradox of coexistence. While some solos conveyed despair and urgency, others seemed to seek attention, questioning the balance between artistry and indulgence. Naharin’s note on reconciliation emphasized the necessity of dignity for both Jews and Palestinians, yet the art transcended such statements, speaking to the ambiguous and inevitable nature of coexistence.
6. Bridging Art and Life: The Enduring Impact
The Batsheva Dance Company’s performance at BAM became more than an artistic event; it was a reflection of life’s complexities. Naharin’s workchandle the challenge of balancing individual expression with collective experience, resonating deeply in a world grappling with conflict. As art often does, "Momo" connected the audience to broader truths, leaving a lingering question: How can we reconcile our differences to find peace? The answer, much like the performance, remained beautifully ambiguous.
