Dance review: Cowboy

Duo Niv Sheinfeld and Oren Laor premiered Cowboy at Tmuna Theater.

September 2, 2015 21:27
1 minute read.
NIV SHEINFELD and Oren Laor’s 'Cowboy.’ (

NIV SHEINFELD and Oren Laor’s 'Cowboy.’ . (photo credit: GADI DAGON)


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

After creating their acclaimed interpretation of Two Room Apartment, duo Niv Sheinfeld and Oren Laor premiered Cowboy, a distinctly different piece, which nevertheless maintained close ties with thematic elements familiar from their other works.

For a moment it seemed the seasoned couple – fortified by Gilad Yerushalmi and Joel Brey – had wandered onto foreign turf; American country/folk culture. With hardcore country tunes by Heidi Hauge, moves borrowed from folk dances, wearing jeans and plaid shirts and with thumbs tucked in leather belts, it had to be a spoof.

Be the first to know - Join our Facebook page.

Soon the honky-tonk ambiance, with its clichéd masculinity images, turned out to be the upper layer of stratified work and a jumping-off point to some more serious issues, often addressed in a humorous, tongue-in-the-cheek way.

Towards the end of the opening “country” scene, Yerushalmi changes his posture slightly and reveals an effeminate nuance, entrapping viewers in conflicting preconceived gender notions. He explained that this dance was not about gender distinctions, and not about expected conventions such as relationships, about us, about you, it’s not about camp, about Pina Bausch, conceptualism or compassion. Yet, in fact, it was about all the above, and then some.

The work is divided into sections, kept loose in structure, which worked mostly in its favor. Yet some fragments delivered better than others.

The least resolved were the male nudity and the role of the skipping girl.

The road leading us among themes and issues unwrapped gradually, through various distinct scenes, each accompanied by different musical choice ranging from Patsy Cline, Abba, Kate Bush and Saida Sultana by Dana International to “Die Moldau” by Bedrich Smetana, which apparently inspired the melody of our national anthem, “Hatikva.”

Those were not random choices; each was a key to various subject matters touched on by the dance.

Smetana’s music, due to its ties with our anthem, served as fertile soil for a section that took critical look at glorifying national memorials rather than individuals and was the best, most effective scene in Cowboy.

Related Content

The International Criminal Court in The Hague
August 18, 2018
What does IDF closing Black Friday war crimes probe mean for ICC?