Dance Review: InfraRed

Choreographer Rami Be'er introduces what is perhaps his most visually striking work, which often simply takes your breath away with its overwhelming beauty.

By ORA BRAFMAN
January 18, 2010 07:18
2 minute read.
The Kibbutz Dance Company's 'InfraRed'.

The Kibbutz Dance Company's 'InfraRed'. (photo credit: Ora Brafman)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

InfraRed
Kibbutz Dance Company
Haifa Auditorium
January 13

The choreographer and artistic director of the Kibbutz Contemporary Dance Company (KCDC), Rami Be'er, based his latest creation, InfraRed, on a poem he had written and composed entitled In the black garden, which color-codes various actions by solders. Since in the past Be'er boldly confronted highly controversial political issues, one could have reasonably expected to find traces of the text in the movement. Fortunately, that wasn't the case.

Be the first to know - Join our Facebook page.


In that black garden, Be'er was enamored with the three primary colors and had a ball, producing what is perhaps his most visually striking work, which often simply takes your breath away with its overwhelming beauty.

One haunting image was a sea of sand-colored silk, like dunes hit by a desert storm. With a change of the lights, the silky waves faded out and an iridescent red body packed in a paper cocoon was suddenly revealed.

The KCDC never had a stronger group of dancers with such exceptional ensemble work. Be'er, often blamed for using a limited movement vocabulary range, has not only expanded his lexicon but refined it in many ways.

Be'er has always designed the set and lighting for his creations, and InfaRed greatly benefits from his masterful craft and attention to visual details. On several occasions in the past, the dancing, it seemed, took a back seat to the overpowering objects and props, but in InfraRed, Be'er manages to find a gentle -although wobbly at times - equilibrium between dance and its supportive stage elements. The weakest element in this case was the cryptic collage of Alex Claude, which kept supplying music from various stylistic sources as background; since the inner logic of the work is fragmented, much like a string of free associations, there is no one component that holds the pieces together as cohesive unit.

And there is that haunting text that accompanies the dance: "In the black garden / Red soldier-watches / Blue soldier warns / Yellow solder shoots / (Back against the wall).



Obviously the sublime beauty and forceful text require reconciliation, and perhaps the key lays in Rilke's words - that beauty is but the beginning of the ghastly.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys

By JTA