Dance Review: 'Horses In The Sky'

Kibbutz Contemporary Dance Company, Herzliya, May 8.

May 16, 2016 20:11
1 minute read.

A SCENE FROM ‘Horses In The Sky.’. (photo credit: EYAL HIRSH)


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


The Kibbutz Contemporary Dance Company premiered its new creation, Horses In The Sky by choreographer and artistic director Rami Be’er, at its annual festive gala on May 8.

Be’er shared one of his inspirational sources during the program, quoting a song by Canadian group Thee Silver Mt.

Be the first to know - Join our Facebook page.

Zion Memorial Orchestra that is part of the soundtrack for Horses. The lyrics speak of a promise to a “broken lamb” to fetch her “horses in the sky,” and include lines such as “violence brings more violence/ And liars bring more lies.” Be’er has deployed poetry with socio-political connotations before, and although the lyrics are not as important as the mood, state of mind or ambiance they lend a suggestive underlayer to the rather abstract actions taking place on stage.

It was a particular pleasure to see KCDC with a very powerful cadre of male and female dancers; quick, fit, with strong stage presence. From the start, Be’er seemed to embrace more open, freer body perception and more vivid movement syntax.

Potent lighting accentuated the wave-like progression that seemed to take place in desolate land, without obligations to any specific point in time; the dancers were motivated from within, tuned to their bodies and inner rhythms. The pulsating music kept recharging the energy, keeping the urgency up, as the larger compositions crumbled into fragments and regrouped.

With keen eye and polished craftsmanship, Be’er has created cohesive work, with strong, aesthetic visuals and great attention to detail yet without much room for the unexpected. Many moves and gestures challenge viewers to decipher the content under the form.

However, at one point a slight shift occurred, perhaps after the scene where the dancers came back with large red masking tape on their mouths, which seemed a bit too explicit a statement, deviating from the mood set so carefully earlier.


The piece had gotten somewhat diffused, crowded with unison sections, and lost some of its tension.

Even so, Be’er’s work, one of his best, is solid, well structured, enjoys impressive dancing and remains within its niche as a well-executed mainstream contemporary dance.

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

Opposition leader Tzipi Livni attends a protest against violence against women, Tel Aviv, October 18
October 18, 2018
Hundreds protest 'unbearable' violence against women in Israel