It Itches (2018)
In the not-so-far future, Dance will become an experience that is in fact a commodity, one with which one consults, one fornicates with, one presents as an objects in a museum’s white cube. Then, dance will bring into memory the Body that is not no longer heard through voice. A voice that is no longer civil, but machine-like.
It Itches is a dance piece that draws its inspiration from the way in which the body of voice artists is present when they use it to produce music. Listening to and studying this tangible vocality, and its merger with the world of contemporary classical music has led us to the question as to how can we grind, fondle, and itch this unique body also in dance - making it a physical and expressive space in which the performers act. We listened to the way in which this corporal-vocal grinding slides into the worlds of pop and contemporary classical music, from Jaap Blonk, to Enno Poppe, to Bjork. We appropriated this entire spectrum in order to establish a corporal-expressive space in which the performers reside and of which they take advantage.
Feder has used the itching body to develop a wide-ranged thought about contemporary young culture, the culture of a generation that sanctifies forms of expression and longs for them, a generation for which art has a significant role. The two performers, being part of this culture and of a whole generation that constantly asks to express itself, both connect to a history of expressivity that stretches from expressive dance to opera, and using this history touch the currently rejuvenating, almost futuristic, definitions of femininity, violence, contact, harassment, and beauty.
The two dancers invite the audience to their space, a museum-like white cube, a ritual space and a trip in the world wide web, a dance studio that is also an experience room. They are both “stage creatures” that exist only under the limelight, and investigate, prophesized, mourn, and celebrate their own bodies, found, like many images in the contemporary world, on a crossroads.
The performers offer the public a travel in time, a possibility to imagine what will become of Dance in the very near future. They suggest the public to look at them, to objectify them, to sense their longing for expressivity, and even join in it. The public is thus confronted with the conventions of dance and theater that are slightly tilted. This creates a space where the audience’s participation is already an image to look upon and a time connected to a body that is already embedded in devices. The theater is an experimental yet eternal space and dance is the possibility to imagine what is happening and will happen to our bodies.
Mandel Cultural Center - 29.1.18, 30.1.18, 1.2.18. 2.2.18, 3.2.18, 6.2.18, 7.2.18, 9.1.19, 14.3.19
Studio Suzy, Batsheva - 7.12.18
Adama - 3.1.19
Kibbutzim College - 5.3.19
Vertigo Dance Company - 21.3.19
Kehila Democratic School - 6.5.19
Be'er Tuvia - 5.1.20
Choreogrpahy: Ido Feder in collaboration with Yuli Kovbasnian and Bosmant Nossan
Performance: Yuli Kovbasnian/Ariel Cohen, Bosmant Nossan
Musical consultation: Avshalom Ariel
Light: Yoav Barel
Costumes: Anna Mirkin, Gosha Gans
Makeup: Keren Avidar
Instagram story: Shachar Sa and Yochai Matos
Music: Tansy Davies, Bjork, Jaap Blonk, The Moonchild Trio, Alfred Wolfsohn, Enno Poppe
Executive producer: Ingi Rubin
Photography: Ben Palhov
Supported by: Israeli Ministry of Culture and Sport, Mandel Cultural Center, Israel’s Choreographers’ Association
* The show features partial nudity