‘His use of music is particularly striking, with the soundtrack cutting between loungecore classics, Jewish devotional songs, traditional Arabic music and the baroque. Against this often ironic undertow, Naharin gives us phalanxes of men and women who, whether swaying with goofily fixed grins in bermuda shorts or performing a hurtling kinetic dance while seated in chairs, are bound by ritual, loyalty and common purpose. The dancers are clearly individuals, often flying off at personal tangents, but it’s as a group that they soar.’

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