There's always a strange dialogue going on in my mind when I go to a dance event that showcases professional dancers along with semi-professional ones. When I'm watching a semi-pro piece, on the one hand, part of me can't help criticize a bit either the quality of the performance, or of the conception of the idea itself. On the other hand, I admire that people who love dancing, but who can't do it professionally for whatever reason, can share their passion with a sympathetic public and fulfil themselves. Could it be that I, as a most unprofessional writer (hello... this blog?), feel somehow connected to those dancers? Am I probably even jealous?
Anyhow, the origin of that strange introduction was this Sunday's dance event at the Teatro Ángela Peralta, an open air theatre in Mexico City: Israel Baila (Israel Dances). Because, you see, thanks to the motek I'm getting to enjoy quite a number of the events organized by Mexico City's Jewish community. And enjoy this one I did as, like I mentioned, there were professional performances too along with the semi-professional ones (most of which I liked too, by the way).
For example (and talking about the pros) there was a well known Israeli choreographer called Keren Rosenberg, a dancer certified in a technique employed by Batsheva (one hell of an Israeli dance company) - Gaga. She, along with Mexican-Israeli dancer and choreographer Moisés Himmelfarb, created a piece specifically for this event - "Come meet me here", a title that reflects on their first meeting in Israel, her living in The Netherlands, his living in Mexico, and their meeting in Mexico City to work together and create a duet. I was intrigued by their dance, as I perceive them as resonating at somewhat different frequencies, yet somehow sorting their way around to synchrony at different points. Hmm, or... you could forgive all those inappropriately appropriated vocabulary - my artistic lexicon is rather differently abled - and have a look yourselves:
They were followed by La Cantera, whose dancers were choreographed by Keren during a special workshop she gave here in the city. I must say, even with just two weeks coaching, I quite enjoyed their performance. And I'm sure they did as well! As for A Poc A Poc, they were unconventional? And a definite change of pace.
Finally (well, finally because this is the last piece I could see before leaving, as I had to attend an IDAHOT event), my day's favourite: Ayn Haseará (the Eye of the Storm, עין הסערה), by Moisés´s "Proyect Ayn". I so like the music. I absolutely love how the choreography follows the music's ebb and flow and build-up. And I'm fascinated by the group's movements and Moises's composition overall.
And all this for free. Gratis. With a raffle at the end for a ticket to Israel? Which I assume I didn't win, as I haven't got any calls... LOL. All in all, a win/win.