Cover Story
Her unexpected post-Batsheva path has led to both solo shows and film work. Photo by Jayme Thornton

Even when marking a move in rehearsal, Bobbi Jene Smith seems to dance with her whole being. "It comes from the pelvis," she says while directing a few of her fellow dancers in an undulating phrase. Her lower body spirals, pulling her torso behind it in one swift, visceral motion. "Always keep a bit of groove somewhere in your body," she says during another, more improvisational section.

Dance audiences might be most familiar with this side of Smith: the heart—and the guts—that she brings to her dancing. But in the four years since she returned to the U.S. from Tel Aviv, where she spent a decade performing with the Batsheva Dance Company, she has achieved a balancing act of creative roles: dancer, choreographer, teacher and budding actor.

The scene she's rehearsing is one of 10 she choreographed for Aviva, an independent feature film directed by Boaz Yakin, best known for his 2000 blockbuster Remember the Titans. She also plays a main character in the movement-driven story, as part of a cast of more than 30 dancers that she helped to select—including 20 of her students from Philadelphia's University of the Arts.

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Dancers Trending
Alice Sheppard in DESCENT. Photo by MANCC/Chris Cameron

You nominated the best performances you've seen so far in 2018, and we narrowed them down to our favorites. Now it's time to cast your vote to decide who will be featured in our December issue!

Voting is open until September 17. Only one submission per person will be counted.

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Dancers Trending
Smith dancing with Batsheva in Bobbi Jene

Elvira Lind's documentary Bobbi Jene took the 2017 Tribeca Film Festival by surprise last spring, sweeping the awards for Best Documentary, Best Editing and Best Cinematography. For those of us who have watched Batsheva and Bobbi Jene Smith's career, the film's success is not unexpected. It is a validation of what we already know: Bobbi Jene is absolutely fascinating.

She is the dance equivalent of a method actor, like a Daniel Day Lewis who lives inside his characters for months or years. Seeing her choreographic process first-hand reveals there is no trying to portray emotion through dance, what we see is true emotion as a result of dance.

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