Dance Review: Yamuna

World-renowned Bengali poet Rabindranath Tagore inspired the creation of Yamuna, Tamar Borer’s latest work - poetic dance on top of a three-ton pink stone.

By ORA BRAFMAN
November 1, 2011 22:32
1 minute read.
Yamuna

guy twisting into himself in dance. (photo credit: Courtesy of Tamar Kedem)

 
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

World-renowned Bengali poet Rabindranath Tagore inspired the creation of Yamuna, Tamar Borer’s latest work. This poetic dance takes place on top of a three-ton pink stone contained within metal construction, like a gigantic flower with hand-hammered petals that slope downward. Borer, already seated, joined by her cotravelers, Ran Ben Dror and Ayala Frenkel, are about to go on an haunting, internal journey, flowing in the wake of death and longing, love and emptiness, through movement and stillness.

Borer, a disciple of Kazuo Uno, founder of the Japanese Butoh, finds a unique amalgamation of the minimalist, yet intensive movement vocabulary that echoes her own physical constrains due to the accident twenty years ago which left her incapacitated. Butoh requires concentrated attention to quality of movement and its details rather than technique, a detailed attention that is the backbone of Yamuna.

Be the first to know - Join our Facebook page.


The opening scene must be one of the most beautiful I’ve seen in a long time. Borer, dressed severely in black, sits stiffly and almost invisibly opens her palms, letting white pearls drop to her lap, to the sand, ricocheting from the metal petals to the floor, making raindrop-like sounds, intensified by hidden sound system, making the entire stage into percussion instrument.

Yamuna, named after the Indian goddess of love and compassion, is the life force, played by Borer, who is there throughout the grief and acceptance process that Tagore the poet went through after the death of his wife.

Ayala Frenkel, as the dead wife, has that beautiful, ethereal spirit look, as she wades in the soft sand, sensing her direction through her arms and fingers, rather than her eyes, like a lost soul. She suited the part to perfection, managing to soften the action of her partner, Ben Dror, and give his actions more credibility. Borer, with her intensity and commanding presence, added depth to the sensitive, spiritual journey.

Related Content

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

By JTA