Paul Taylor Dance Company 311.
(photo credit: Courtesy)
A car accident 20 years ago left dancer Tamar Borer paralyzed from her waist
down, yet she persevered and developed as a creator.
Over the years, she
concocted numerous ways to move onstage, using support constructions, various
contraptions, ropes and harnesses, lying on a piano. Except for wheelchairs
she’s done everything, you name it.
Borer’s predicament often made it
difficult to weed out obvious compassion from artistic appreciation. There was
genuine interest in her craft, although her messages were often
Not in this case.
Ana, which Borer devised with
photographer Tamara Erde, portrays the body as an intimate landscape that echoes
the vast desert landscapes with its primordial powers and spiritual
Thematically, the focal point here is the land that cradles and
sunken civilizations, the land that nourishes the ongoing conflict between two
peoples who wish to brand it and claim it all.
In one of the videos
Borer’s hand puts folded paper in a crack of a stone wall, which we read as a
prayer being placed in the Wailing Wall.
Seconds later the frame opens
and we see her filling a crack in the Separation Fence with folded wishes on
This work must be one of the more refined political dance
performances that have been created here in years. Far from using
and Erde use unforgettable visual images stronger than words,
esthetic and powerful.
Borer, well versed in Buto, knows how use small
gestures, slow moves and contained energy to its fullest impact. In Ana,
mostly crawls, rolls wrapped in woolen blankets, and uses her upper
supplies the context, the setting, the layering of a point, sometimes
the movement of the video camera.
This is a great achievement for Borer
and Erde by any standard.
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