#batsheva ensemble

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Batsheva Ensemble- Home alone

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Batsheva Ensemble by Festival and King's Theatres Edinburgh on Flickr.

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Batsheva Ensemble and Cultural Boycotting

With the latest outbreak of violence in Gaza dominating our headlines, Batsheva Ensemble could not have reached the London leg of their UK tour at a less opportune time. The young Israeli dance troupe have performed Deca Dance across the country to sellout audiences, but also been accompanied by demonstrations and protests led by Don't Dance With Israeli Apartheid and backed by a further 20 solidarity groups.

Earlier this year the decision of whether to include Israeli company Habima in the World Shakespeare Festival divided theater heavyweights. 37 big names including Mark Rylance and Emma Thompson signed a boycott but there was an equally fierce opposing camp, believing art should stand above politics and that cultural boycotting had a detrimental effect on Middle Eastern peace processes.

Praise for Batsheva is universal: exceedingly gifted, many feel they are the most exciting young dancers in the world. They are also partially state funded.  Does government money instantly involve art in politics? In the UK, perhaps not - but do different rules apply for Israel?

In 2006 the government launched 'Brand Israel aiming to use the arts to change the world's negative image of the country. When they are producing talent like this, perhaps this is no bad thing. The Israeli Foreign Minister recently called Batsheva "the best known global ambassador of Israeli culture." Such direct political appropriation of the arts is highly uncomfortable in this context.  However why should the entire populace be inextricably associated with conflict and cruelty? 

Is cultural boycotting (backed by Palestinian cultural academics) a meaningful form of protest? It seems to be a topic as complex and intransigent as the Isreal, Palestine conflict itself. I'm still uncertain and am fascinated to hear your views....

Posted by Kate.

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'Tabula Rasa' (1986) by Ohad Naharin. photo by Gadi Dagon.