“Anaphase”, Ohad Naharin’s iconic work for the Bat Sheva Dance Company, was performed for the first time in December 1993, and these days, when we mark the 30th anniversary of the company’s founding, the work is re-emerging, in an innovative yet complete meeting like no other. ‘Anaphase’ of 2023 is a joint production of the Batsheva Dance Company and the TOMIX group that will stage seven shows that will take place in Hangar 11 between the dates of June 16-24, 2023.
Anaphase is actually a paraphrase, a work that seeks to create a novelty for the work. While going back in time and at the same time the existence of magic in the meeting between the new dancers and the old creation. At the same time, there is a request to look at the storms that were in the past compared to the storms and issues that are before our eyes today.
The meaning of the name “anaphase” describes the third stage of cell division – the stage where the single cell splits into two cells that separate from each other. And to be honest, it’s no wonder that the name of the show was and is still present. The meaning of the name in the past described the core of the Arab-Jewish conflict, but today it takes on an additional layer. “You have seen an excerpt from one who knows, Anaphase exists today only in your memory, it is not a book that you can pull out, an exhibition, a poem or a sculpture. It has no existence except in your memory and that of those who saw it. This is the beauty of dance, it is an action that disappears and remains in the memory, and therefore Today when we renew the show, our commitment is to load your memory with experiences that are not necessarily similar to what you have seen before,” Naharin claimed at the press conference.
Later, Naharin claimed that since the birth of the work until today, he himself has matured, and although in the past he was afraid to tell about the narrative that led the work, today, in the face of the current reality, the great artist does not apologize and rather seeks to state his opinions and give space for thought behind every detail in the work. “There is no such thing as no message – dance has a wonderful message, but it is a sick message first of all. We put a lot of thought into where to place the dancers, and at what distance to put them from one another. The message is related to organization, composition, refinement, and also to the chaos that is always present in the works. I did not want To say that the message is a narrative that can be told, I’m a junkie of big emotions and they are part of the sick message,” he added.
Over the years, the piece has become an Iron Sheep asset both in the cultural world and for the band itself. The work was revealed to more than 350,000 viewers who got to experience the magic, to observe Naharin’s creative ideas. The work, which at the beginning sought to reach as many people as possible and wished to succeed in touching the general audience, not only met the task, but Harin made a mark on the world of dance in general. Although ‘Anaphase’ became iconic and important so that Harin received a Bessie Award for it, the piece caused quite a stir. As I remember, in 1998 Bat Sheva was supposed to perform with her at the “Bells of the Jubilee”, the main show of the 50th year of the state, but following a widespread protest by the ultra-Orthodox, it was decided at the last minute to cancel her appearance.
The press conference began with great excitement on the part of all involved in the craft, but Ohad Naharin immediately caught the forgetfulness and declared: “First we dance – then we talk.” The opening segment of the show was also shown at the press conference. ‘One who knows’ caused a great storm at the time. In the past the dancers wore black suits, hats and white button-down shirts. Naharin began his speech with a few seconds of silence, after which he said “breaking the silence”. What was asked to be said immediately afterwards was “literally”. While Harin never sought to disguise his political views, there was no doubt that the dancers in the past presented the appearance of an ultra-orthodox person. For the benefit of those who don’t remember, as the dance goes on, the dancers lose their clothes until at the end they are left naked.
When Naharin was asked if he was afraid of the incoming government or of the censorship that would rekindle the ultra-Orthodox uproar and the discourse on the revealing work, Naharin firmly dismissed the concerns and claimed: “There is no censorship in Israel, so we have no worries.” Naharin added with a half-smile that looking back, his observation of the work was different and if he looks at the troubles that existed then compared to today, then today he wishes for such troubles.
Although the segment in the press conference was from the band’s rehearsal, the level of professionalism, precision and passion did not embarrass the band’s good name, which was not surprising at all since it was ‘Mr. Gaga’. His iconic work, on the one hand wrapped in an old-fashioned religious song and on the other hand, the movements and the rhythm present Naharin’s cry for human rights and the acceptance of every person regardless of who they are.