Rant & Rave
Alvin Ailey American Dance Theater in Ohad Naharin's Minus 16. Photo by Pierre Wachholder via alvinailey.org

What makes big-time music artists and their collaborators think they can directly plagiarize the work of concert dance choreographers?

And, no, this time we're not talking about Beyoncé.

Last Wednesday, country artist Kelsea Ballerini performed her song "Miss Me More" at the Country Music Awards. The choreography by Nick Florez and R.J. Durell—which Taste of Country said "stole the show" and Billboard lauded as "elaborate"—features a group of dancers in white shirts and black pants performing with chairs onstage, often arranged in a semicircle. They move in quick canons, throw their heads back, and fling themselves in and out of their chairs.

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News
Batsheva Dance Company in Ohad Naharin's Three. Photo by Gadi Dagon, Courtesy Batsheva

On the Mediterranean coast in Tel Aviv, a wave of change is headed toward shore. For nearly 30 years, Israel's magnetic Batsheva Dance Company has been led by the influential choreographer Ohad Naharin, who has provided the troupe with a vast repertory of evocative works as well as a bold physical identity thanks to Gaga, his distinctive movement language. This month, Naharin, 66, will transition from artistic director to house choreographer, handing the management reins to Gili Navot, a former dancer with the company.

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What Wendy's Watching
The Young Ensemble in Naharin's Virus

The first piece that Ohad Naharin brought to New York City after taking over Batsheva Dance Company exploded onto the Brooklyn Academy of Music stage in 2002. The NYC dance audience knew immediately that something big was happening in Tel Aviv. The piece was Naharin's Virus, and it seemed to embody both rage and a Zen acceptance of the unique strangeness of every human body. Now it's back in NYC until July 22, danced by the second company, known as Batsheva — The Young Ensemble, which ranges in age from 20 to 28.

The choreography has the ferocity yet humanity we've come to expect from Batsheva, plus a text from Peter Handke's agitating play, Offending the Audience. The dancers speak Handke's accusations, saying one minute that we, the audience, have a private part of our minds that no one can touch, and then in the next breath that they are invading that part of our brains.

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Dancers Trending
Bobbi Jene Smith in rehearsal for A Study on Effort. PC Jim Carmody, courtesy Bobbi Jene Smith.

I dance to remember.

I dance to forget.

I dance to contain.

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