Flawlessly projecting humanity in art at Suzanne Dellal

THE EMANUEL GAT Dance troupe.  (photo credit: JULIA GAT)
THE EMANUEL GAT Dance troupe.
(photo credit: JULIA GAT)
Emanuel Gat is one of the Israeli choreographers living and working abroad that were invited to perform as part of Suzanne Dellal’s 30th year celebrations. Gat, 50, like some of his peers found abroad accessible recognition and support.
The evening included two creations and opened with WORKS, an assemblage of components from recent works that sum up to a large degree his approach to his ongoing dance investigation.
The ensemble is composed of 10 strong dancers with various backgrounds that manage to maintain their individuality within the group’s framework.
A tight circle of the dancers is being torn apart as if by energetic eruption, marking the forte of WORKS. The dancers spread over the floor now, eventually form their own set of moves, building their voice layer by layer. Through the evening we could notice the difference between segments but also the similarity in the basic dance artistry. In a sense, the current use of fragmented movement, multi-direction positions, free roaming and ground covering by the dancers enhance a chaotic ambiance as the scene reach its peak. Gat with his sensitivities, orchestrate the action and balance it with subtle mellowing through various techniques to ease any concern of losing control. This interplay between letting go and meticulous moves well layer the dance and the unexpected humorous touches and sheer beauty of hinted intimacy makes the dance grow on you.
Second part on that evening was a rendition Gat’s dance creation SACRE, originally choreographed in 2004, early in his career and drew a lot of attention. In contrast to dozens interpretations made after Stravinsky’s Rite of Spring about a century ago, based on the original ancient Russian myth, Gat opted for a quick steps Cuban salsa with intricate interlacing feet and arms, and was considered challenging and original, and soon became a hit.
A quarter of a century later, the revised version holds its own and more. Gat used the tightly woven creation, unraveled its fibers, and let the Rite’s guts spill, with their rough edges and even more relevancy.
Perhaps one of the more outstanding components of the company’s DNA is the attentiveness and awareness of others, regardless of their actual interactions at any given moment. We rarely witness a company that strives to use humanity as an important artistic tool, and it was a deep pleasure.