Dance Review

Contemporary dance in Turkey is mainly composed of very few under-funded independent choreographers who struggle to get noticed outside of Turkey.

By ORA BRAFMAN
October 22, 2007 10:41
2 minute read.
Dance Review

turkey dance company 88. (photo credit: )

 
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Zeynep Tanbay Dance Project (Turkey) 4legs Suzanne Dellal, Tel Aviv Dance '07 October 16 Zeynep Tanbay, the first Turkish dance company to visit Israel, exceeded expectations at the Tel Aviv Dance Festival. Contemporary dance in Turkey is mainly composed of very few under-funded independent choreographers who struggle to get noticed outside of Turkey or even find supportive audiences within. A few months ago, a group of activists managed for the first time to produce a modest Turkish contemporary dance festival in Istanbul. There is a budding dance scene in Turkey well worth following. Dancer-choreographer Zeynep Tanbay, an ex- Martha Graham dancer, hand-picked eight young and talented dancers for this project. Tanbay herself is still an intriguing dancer, as her two short solos testify. 4Legs, the piece she choreographed to a musical collage, resulted in an enjoyable work. Her wonderful ensemble of highly disciplined dancers displayed terrific energy, precision and very pleasing execution. Tanbay managed to maintain a clear artistic vision throughout the work that held together all changes in mood and rhythm. This alone is an achievement. Her approach to the stage is influenced by dance of previous decades, which places her style more in the modern dance niche than the contemporary genre. This work, with its refreshing scenes in unison, was well constructed and transitions were cleverly solved to maintain flow. 4Legs turned out to be one of the highlights of the Tel Aviv Dance Festival. Aterballeto ( Italy) Tel Aviv Dance '07 TAPAC October 18 As artistic director of Ateballeto, the leading contemporary dance company in Italy, choreographer Mauro Bigonzetti was responsible for creating both of the works in this evening's repertoire -WAM and Cantata. It doesn't take long to realize that this Italian company is made up of a very strong cadre of dancers. Bigonzetti's work is complex, detailed and technically very demanding. The two works are similar in the way the choreographer treats the body, builds his own movement's lexicon and perceives the clash of genders. But they are also very different. The music backing WAM was composed by W.A.Mozart and played on stage by pianist Bruno Moretti. But for Bigonzetti, Mozart's music is only a trampoline to use as he sees fit. He leaves reverence aside as he digs in to find new ways to challenge himself. The result is a piece that is extravagant and full of restless undercurrents. It is an all together colorful bag of choreographic surprises. Prolonged ovations awaited the company at the end of Cantata - and rightly so. This wonderful and touching work is accompanied on stage by the "wild" female musical ensemble, Assurd, which sings traditional music from southern Italy that will win you over in no time. It certainly won over Bigonzetti, who succumbed to its powerful musical spell and created a warm, human, passionate work which invoked a rare stage magic.

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