The Bat Dor Years (1968 – 1976)

I joined Bat Dor dance company in 1986 and worked with the company through the summer of 1976.

My time with Bat Dor was divided into 3 distinct periods:

1. The Army years – I was drafted to the Israeli army shortly after joining the company. I have barely begun my dance training, and the idea of interrupting my training so soon was frightening. It could mean the end of a very very short career…  But the company appealed to the government and made a special arrangement for me. I was to be stationed in Tel Aviv, and share my time between the Army service and dancing. So, following a 30 day period of basic training (somewhere in the wild) I was stationed at the army’s headquarters in Tel Aviv.

I recall a funny moment when one evening, after a long day of field training I took a shower in an army style field shower, together with other soldiers in adjacent showers. I wanted to use the moment of standing under a hot stream of water to stretch and limber my body, so I engaged in some typical ballet stretches… I immediately became a laughing stock for the soldiers around me who have never seen a guy engaging in such strange activity. And I became the Dancing Soldier.

With my friend Ilan Shani. We met at the army camp and have become closest friends for life.

Once I resumed my training and rehearsals with the company I found myself having a very difficult daily routine. I would wake up very early to start my day at the army camp, with the usual ‘Misdar Ha’Boker’ (The Morning Order), then go through the day fulfilling my duties (often thinking about dance steps rather than marching steps), and finally being released to go to my scheduled rehearsals. I would walk to the company’s studio, which luckily was very close to the army camp, shed my uniform to be replaced by leotard and tights, and ceremoniously took off my army boots to make room for soft ballet shoes – haa… what a nice feeling! I overheard one of the dancers exclaiming “here comes the dancer in the army boots” – we had a good laugh…

During my army service, the company went several times on tours abroad. For those periods I was granted a special vacation time, so I could join the company on tour. These were the highlights of that period, but the experience was bittersweet. On the one hand there was a distinct  feeling of freedom. Not only did I not have to follow a military regimen, but I was ABROAD, free from the idiosyncrasies of Israeli life (the grass is always greener on the other side…).  And then came the down feeling, having to resume my military life. The contrast with the big world, now but a fleeting memory, was painful. But I had something to look forward to – resuming rehearsals and working with wonderfully creative people. I survived.

With Leah Manor in Lar Lubovitch’s Whirligogs – Bat Dor photo: Mula and Haramati

1968 My first professional performance – Job Sanders: “Bachianas Brazileiras” (l. to r. Igal Berdichevsky, Jeannette Ordman, Igal Perry, El Gabriel – photo: Mula and Haramati

With Miri Leshem in Paul Taylor’s “Duet” – photo: Mula and Haramati

2. The Transition years (from Dancing to Teaching/Choreographing/Directing ) – Shortly after completing my military service I took a year off from Bat Dor to dance with Rotterdams Dansentrum in Holland (see The Holland Year). Upon returning, I re-joined the company, and initially immersed myself in my role as a lead dancer. In 1973 the company toured South America, and during that tour I contracted some mysterious stomach ailment, which hindered my ability to dance fully. 7 doctors (with 17 opinions) later, I was sent home to take care of my health. A side note, my trip home took me through New York City, and spending 2 days there, on my own, roaming Times Square, Washington Square and the Village were very memorable for me – I fell in love.

I slowly recovered and resumed dancing, but soon began pursuing additional interests, being truly drawn to the creative aspects of teaching, choreographing and directing. I assumed a position as a teacher at the Bat Dor school, and a position as rehearsal director for the company. I also got my first chance to choreograph for both the school and the company. My very first work for the school was ‘Episode’ to Ravel’s string quartet (see My Choreography/Episode). For the company I made ‘Beyond The Mirror’ to a collage of music by Henk Baddings and others.

My First Choreography – “Beyond the Mirror” (l. to r. David Dvir, Daniel Ambash) – photo: Mula and Haramati

3. The remote years – going home feels so rewarding

Having settled in New York City as my new base, I have not let go of my deep connection to Bat Dor, which in my mind gave me so much nurturing and support. I remained close with the company’s artistic director, Jeannette Ordman, who kept supporting my journey, not unlike a parent supporting their child venturing onto the world out there. I was invited often to create new works for the company and to teach whenever I was visiting. Jeannette visited my newly established school in New York, and in her motherly manner gave her approval. I knew then I made the right choice. Onward with my new adventures…

Choreography for Bat Dor – “Symphony of Psalms” – photo Mula and Haramati