MATAN DAVID

ISR

 

Matan was born in Rishon LeZion, Israel in 1982.  He started dancing as a folk dancer and at the age of 15 was accepted to Thelma Yellin High School of the Arts.  During these years, Matan also studied at Bat Dor Dance School, and at age 17 he attended the Juilliard summer program.

After high school, at age 18, Matan was accepted to the Batsheva Ensemble.  He performed there for two years before dancing with the main company for ten more seasons.  In the twelve years Matan danced in Batsheva, he was a part of some of Naharin’s greatest creations such as Three, MAX, The Hole, and many more.

Since 2013, Matan has been the director of Batsheva – The Young Ensemble, which has become one of the leading young companies in the dance world. The same year he became director, he also won the Yair Shapira award, and the ensemble was named the best performing company by Israel’s Ministry of Culture.

Matan has undertaken a long, meaningful process with Naharin’s movement language and is a senior teacher of Gaga.  He teaches Gaga around the world and is one of the main Gaga teachers for the Batsheva Ensemble.

since 2017 Matan is travelling between companies to but on Ohad’s piece on stage and to bring the Gaga language to those companies.

 

 
 
 

MASTER WORKSHOP: GAGA

DATE: 30 JUNE 11:00 – 16:00
VENUE: HKAPA
FEE: 700HKD

PERFORMANCE: NOTHING III

Music by:Ohad Fishof

DATE: 30 JUNE
TIME: 19:30
VENUE: 5F Sheung Wan Civic Centre Theatre

MASTER WORKSHOP | GAGA

“Gaga challenges multi-layer tasks.”

We are aware of the connection between effort and pleasure,  we are aware of the distance between our body parts, we are aware of the friction between flesh and bones, we sense the weight of our body parts, yet, our form is not shaped by gravity . . . We are aware of where we hold unnecessary tension, we let go only to bring life and efficient movement to where we let go . . . We are turning on the volume of  listening to our body, we appreciate small gestures, we are measuring and playing with the texture of our flesh and skin, we might be silly, we can laugh at ourselves.  We connect to the sense of “plenty
of time,” especially when we move fast, we learn to love our sweat, we discover our passion to move and connect it to effort, we discover both the animal we are and the power of our imagination.  We are “body builders with a soft spine.”

We learn to appreciate understatement and exaggeration, we become more delicate and we recognize the importance of the flow of energy and information through our body in all directions.  We learn to apply our force in an efficient way and we learn to use “other” forces.

We discover the advantage of soft flesh and sensitive hands,  we learn to connect to groove even when there is no music.

We are aware of people in the room and we realize that we are not in the center of it all. We become more aware of our form since we never look at ourselves in a mirror; there are no mirrors.  We connect to the sense of the endlessness of possibilities.  Yielding is constant while we are ready to snap . . .

We explore multi-dimensional movement, we enjoy the burning sensation in our muscles,  we are aware of our explosive power and sometimes we use it.  We change our movement habits by finding new ones, we can be calm and alert at once.

We become available . . .”

 

 
 

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