The audience take their seats in two stands facing each other, delineating the space for an improvised stage in the middle of a gymnasium. No set, no curtain, none of the usual theater trappings. A piercing whistle rings out and the show begins. Fourteen dancers dressed like some kind of rebels charge in from all sides, the girls in kilts over ripped tights, the boys in tartan trousers. Others, sitting incognito, leap out from the audience. They move exuberantly to an eclectic mix of music including psychedelic Japanese pop, TV soundtracks, reggae and a Beethoven sonata. This celebration of youth is pure joy, shared by performers and public alike.
Ohad Naharin has emerged as one of the most prominent figures on the contemporary dance scene with his innovative choreographic language and training method, which he has dubbed “gaga” in reference to baby talk. Created in 2003 for young dancers of the Batsheva Dance Company, Kamuyot breaks down barriers between dancers and spectators to draw both parties into a shared artistic experience.