Yasmeen Godder’s Storm End Come

April 29, 2012

As you may know, I am enrolled in a unique-to-Dance Jerusalem lecture course called Dance in Israel. As you may or may not know, I adore it. Though all lessons are filled with great information, video, photo, and opportunity for discussion, the most effective (and my favorite) progression of these dance history (or current events?) lessons ends with a trip to see a live performance. Just last night Dance Jerusalem hit the Suzanne Dellal Center once more for another amazing demonstration of Israeli dance. This time, we visited Tel Aviv to see Yasmeen Godder’s Storm End Come.


Photo courtesy of Gadi Dagon


I had learned just a few weeks ago in Dance in Israel, taught by Deborah Friedes-Galili, about milestones in Yasmeen Godder’s career, her studio in Jaffa, and her creative process. We even viewed some short clips of her previous works:  Two Playful Pink (2003), Strawberry Cream & Gunpowder (2004), and I’m Mean I Am (2006). When my friend Rob had visited in the winter, we had seen the world premiere of another work by Godder called Toxic Exotic Disappearance Act (2011), choreographed on Batsheva Dance Company dancers, which I may see again with Dance Jerusalem later this spring.

As for my impression of Storm End Come, I was deeply inspired. I saw pedestrian moments in juxtaposition with strange physicality, in unconventional leg extensions, postures, and locomotor movement. I saw the deep and authentic exploration of human emotions. I saw hair, flying. Every dancer on stage told a story at all times, and the stories kept changing with staging, movement, and relationship to one another. Of course, the theme was abstract, but there was specific intention in each moment for each dancer.


Shuli Enosh in Storm End Come, photo courtesy of Yasmeen Godder


The lighting and music hearkened to the late Merce Cunningham’s Points in Space (1986). The white Marley floor and cyc worked as a canvas for soft yellows, slight reds, and many shades of grey. The music sounded to me like abstractions of weather sounds, including perhaps thunder and water in waves, streams, and drips. Perhaps these elements warranted the title. Or the other way around.

My favorite thing about Godder’s choreography in this piece is her ability to direct focus using staging, movement dynamics, and sound. Someone may be standing front and center and yet only be secondary to a duet that is happening in a far, upstage corner. Focus jumps from one vignette to another and then to another, not with lighting gimmicks, but with the subtly clever timing of sudden movements and directional facings. These are staging devices I’ve studied years before, during my experience doing colorguard, and have only become more curious about since.




I can’t wait to get into the studio this week to work on my own choreography. Seeing Yasmeen Godder’s Storm End Come has shed new light on what I’ve been looking at for weeks now!


Yasmeen Godder’s official website
Close Encounter Series:  Yasmeen Godder | an article by Deborah Friedes-Galili


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