The Borders Of Contemporary Israeli Dance Analysis

“The Borders of Contemporary Israeli Dance: Invisible Unless in Final Pain,” is written by Gaby Aldor and published in 2003. Gaby Aldor is a writer and a dance critic, who has published and written about Israeli dance and culture within the U.S, Europe, Japan, and China. As stated in Jewish Women’s Archive, she is also co-founder of the Arab-Hebrew Theater of Jaffa. Gaby Aldor reflects on the history of Israeli dance and how Israeli movement develops. Aldor intends to describe what makes contemporary Israeli dance and choreographic themes. As stated in the article, early Israeli dancers included tradition as well as European ideas into their movement. Modernity became a topic in the western dance world; Israeli dance was just being established and new dance and the ideals of Zionism were being put together. Aldor states, ”not all contemporary Israeli dance is overtly political”(Aldor 84). In fact, these statements are expressed through the dancers bodies; the danger and reality in their lives,
Quinlan includes interviews with dancers, one of them being Ohad Naharin who describes his experience with Gaga movement, “Well, before I called Gaga “Gaga,” I called it my movement language. So, it’s not that I call Gaga my movement language; my movement language is called Gaga. And the reason it’s my movement language, and not a technique, is because I feel that by calling it a movement language, it stays open for changes . . . A technique it feels something more finished” (Quinlan 29). This answer helps to explain the technique and why it is one of the most sought after modernist techniques. Quinlan identifies NAharin’s argument as having great political significance, as it reveals, movement language as a label to that eliminates Gaga from being a part of concert