Dance Review: La La La Human Steps

A brilliant group of dancers and an inquisitive choreographer offer an intriguing work that explodes with energy.

January 14, 2009 12:59
1 minute read.
dance 88

dance review 88. (photo credit: )


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 analysis 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


La La La Human Steps Amjad TAPAC January 12 A brilliant group of dancers and an inquisitive choreographer offer an intriguing work that explodes with energy, dizzying with its high-velocity moves and raising numerous issues concerning contemporary dance by using old techniques. On La La La Human Steps' earlier visits, choreographer Edouard Lock was busy breaking boundaries; he came closer than anyone before him to producing a mesmerizing dance as powerful as a rock concert. He used blown-up images on a huge screen to create an extensive dialogue between the concrete artifact and its image. What he retained from those days are the attraction to defying extremes and a craving for high-speed moves, as means to make a point - this time, on pointe. Though it's out with the bare feet and in with the satin pointe shoes, Amjad is far from classical ballet, despite Lock's supremely disciplined dancers. They execute duets at triple speed on contained, poorly lit spots, isolated and out of context - or so it seems, at first. Soon it becomes clear, as notes from Swan Lake and Sleeping Beauty seep through the original composition. Amjad is what came out of a massive deconstruction of dance language and a bold reconstruction which forms an original palette of contemporary dance. Amjad is the result of a clash between the spiritual, ethereal body of the balletic language and the concrete, in the context of the 21st century. It is the linear narrative structure of old-school perceptions versus the fragmented form of post post-modernist esthetics. Lock, like he has on former creations, goes all the way. It is a brave, bold and highly intelligent piece of art that finds its match in the newly composed music by Gavin Bryars and David Lang, performed onstage by a superb quartet. The last performance is today at TAPAC.

Join Jerusalem Post Premium Plus now for just $5 and upgrade your experience with an ads-free website and exclusive content. Click here>>

Related Content

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